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Dissertations / Theses on the topic 'Animated image'
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Pahnke, Cornelia. "Animated systems engineering : a new approach to high quality groupware application specification and development." Thesis, University of Wolverhampton, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.275282.
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Hodges, Peter. "Sound & vision : towards a definition of the dialogical interactions between image and sound effect in animated film." Thesis, University of South Wales, 2017. https://pure.southwales.ac.uk/en/studentthesis/sound--vision-towards-a-definition-of-the-dialogical-interactions-between-image-and-sound-effect-in-animated-film(b4175cec-c2c9-4e9c-bb66-048a50b580ec).html.
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The introduction of synchronised sound to moving pictures brought the birth of a new form of entertainment, the sound film. As a contemporary moving image medium to the live action film, animated film also successfully adopted synchronised sound. The process of animation is, by its nature, inherently silent so any use of sound involves decisions away from the creation of the image. Thus, there are many opportunities for an inventive audiovisual dialogue to affect an animated film's narrative intention. The marriage of sound to image was initially thought to provide two opportunities of interpretation. The first, that the sound could simply match the expectations of everyday life by working in parallel with the visual action, supporting it in a realistic manner. The second suggested enhancing the narrative by providing sound information that acted in counterpoint to the displayed visual, thus providing a new, different interpretation of meaning to this audiovisual event. In film, a dialogue between sound and image can be created through applying a combination of parallel and counterpoint sound throughout a film's duration. However, after ninety years of the sound film, are there any alternative definitions of audiovisual meaning other than in parallel or counterpoint? To investigate this variation in the interpretation of meaning, this study defined a creative methodological framework that considered sound design choices and their relationship to meaning within animated film, and recognised the influences within animated film production on the sound design decisions made. These formed the hermeneutic categories of sound effect choice, and the physical and meta-influences that inform decisions regarding the chosen sound effects. This framework was developed and applied to case studies using an action research approach. The study concludes that a creative methodological framework for sound effect planning in animated film provides a useful understanding and application of the range of influences in animated film sound production. The research also illustrates that the framework's integral hermeneutic categories provide a valid expansion of the parallel- counterpoint position with regard to informing choice and meaning in sound effect planning. Finally, the study recognises that the framework presents a workable methodology to apply to the sound effect planning process in animated film.
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Barbosa, Ana Luiza Pereira. "A relação som-imagem nos filmes de animação norte-americanos no final da década de 1920: do silencioso ao sonoro." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27153/tde-17032010-175658/.
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Esta dissertação tem por objetivo estudar a relação som-imagem nos filmes de animação norte-americanos realizados no período final do cinema silencioso e no início do cinema sonoro. Foram feitos levantamentos históricos sobre o processo de produção do cinema de animação e sobre o processo de criação de suas trilhas sonoras antes e após o advento do som sincrônico. A partir desses levantamentos e da análise de curtas-metragens do final da década de 1920, identificou-se características próprias do cinema de animação tanto em relação ao uso de soluções visuais para sugestões sonoras nos filmes silenciosos quanto à criação de uma relação única entre som e imagem nos filmes sonoros, especialmente nos filmes produzidos por Walt Disney.<br>The present work aims at studying the sound-image relationship in North American animated films made at the end of the silent era and in the beginning of the sound film era. Historical surveys have been developed about the production process of animated films and about the creative process of their soundtrack before and after the advent of synchronized sound. From these surveys and analysis of short films made at the end of the 1920s, specific traits of animated film have been identified in regard to visual solutions for sound suggestion in silent cartoons as well as the creation of a unique relationship between image and sound in the sound films, especially in Walt Disney\'s films.
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Suret-Canale, Alice. "D’un fragment à l’autre : images empreintes de temps réel : exploration des nouvelles découpes de la vue et du temps dans le film d’animation et l’image numérique animée." Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080018/document.
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La vision multiple et la perception simultanée d’images et d’informations sont au cœur de notre vie quotidienne ; l’omniprésence des écrans et des fenêtres, de l’espace urbain à Internet, produit une vision sur-cadrée et fragmentée du monde qui transforme notre rapport à l’image. La révolution artistique des 19ème et 20ème siècles accompagna le développement des techniques de production de l'image photographique et cinématographique manifestant une certaine préoccupation pour la décomposition du mouvement et l’échantillonnage du temps. La naissance des technologies numériques, dont le développement est intimement lié à celui des réseaux de télécommunication et notamment d’Internet, a renouvelé cette tendance en faisant de la mobilité, de la téléprésence, de l’ubiquité et de la vision simultanée les caractéristiques fondamentales de la pensée visuelle de notre époque.Les systèmes figuratifs de l’image numérique, qui héritent des techniques d’enregistrements optiques tout en y adjoignant celles de la simulation par ordinateur, inaugurent-ils une attitude différente vis-à-vis du réel ? Leur parenté avec Internet et avec les systèmes temps réels les investit-t-elle d’un autre mode d’expression temporel, qui viendrait se substituer à l’histoire de la peinture classique et tendrait à renouveler la présence performative et le direct de l’art vidéo ? C’est à travers le concept du fragment, considéré comme outil au service de l’expérimentation artistique, que cette thèse de recherche-création examine la manière dont l’image numérique animée reprend et transforme les codes de la pratique figurative en peinture et en cinéma pour organiser une nouvelle découpe de la vue et du temps<br>Multiple vision and simultaneous perception of images and information are at the heart of our daily lives; The omnipresence of screens and windows, from urban space to the Internet, produces an over-framed and fragmented vision of the world that transforms our relationship to the image. The artistic revolution of the 19th and 20th centuries accompanied the development of photographic and cinematographic image production techniques, expressing a certain concern for movement decomposition and time sampling. The birth of digital technologies, whose development is intimately linked to that of telecommunication networks and especially the Internet, has renewed this trend by making mobility, telepresence, ubiquity and simultaneous vision the fundamental characteristics of the visual thinking of our time.Do the figurative systems of digital image, which inherit the techniques of optical recordings while adding those of computer simulation, inaugurate a different attitude towards reality? Does their kinship with the Internet and real time systems invest them in another mode of temporal expression, which would replace the history of classical painting and would tend to renew the performative and direct presence of video art? It is through the concept of fragment, considered as a tool in the service of artistic experimentation, that this research-creation thesis examines the way in which the animated digital image takes over and transforms the codes of figurative practice into painting and film to organize a new cut of sight and time
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Velho, Luiz. "SCRIPTS : on the description of computer animated images." Thesis, Massachusetts Institute of Technology, 1985. http://hdl.handle.net/1721.1/78061.
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Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1985.<br>MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.<br>Includes bibliographical references (leaves 65-70).<br>The problem of specification of temporal transformations for Computer Animation production is investigated. Based on this analysis, an interactive animation language is developed which supports both procedural and key-frame animation. It is a flexible software environment for the design and prototyping of animation programs and interfaces. The language is implemented in C within the UNIX operating system, and consists of C-like expressions, built-in functions, script and track constructs. There is also an escape mechanism to run UNIX commands. C-like expressions are the regular arithmetical, logical and control of flow operations. Built-in functions are C functions incorporated in the language. Scripts are time programs that are executed in parallel to generate animation. Tracks are time variables used to define dynamic animation parameters. A small set of animation tools is also developed to exemplify the system's utilization. These include a three dimensional geometry model interface library, a spline library, and simple mechanics, collision detection and inverse kinematics functions.<br>by Luiz Velho.<br>M.S.V.S.
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Merijeau, Lucie. "Le cinéma d'animation et son image. Étude des pratiques industrielles et spectatorielles du cinéma d'animation américain contemporain. Le cas prototype de Pixar (1995-2010)." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030137.
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Parce qu’ils sont les premiers à avoir réalisé un long métrage en images de synthèse, Toy Story, dont le succès artistique et populaire – qui ne se dément pas - a été le déclencheur d’un nouveau cycle de films d’animation, les studios d’animation Pixar occupent une place importante dans le paysage culturel actuel, et représentent une bonne opportunité d’étudier la manière dont les objets des industries culturelles sont créés et consommés. Au travers d’une étude du dessin animé américain, abordé du point de vue historique et esthétique, il s’agit tout d’abord de déterminer l’évolution du système de production et des techniques, qui sont en lien avec les évolutions stylistiques, pour comprendre dans quel système émergent puis s’établissent les films d’animation Pixar. Alors que la manière dont les films sont faits et dont ils sont vus a changé à la fin du XXe siècle, la trilogie Toy Story sera l’objet privilégié d’une étude des mutations du cinéma, et des usages qui en sont faits. Par le statut culturel élevé spécifique à Pixar, par l’ambiguïté textuelle qui les caractérisent et qui sont l’occasion d’interprétation très variées, ou grâce aux nouveaux modèles de féminité et de masculinité qu’ils proposent, les films d’animation tendent à devenir des films "comme les autres", laissant aux spectateurs la possibilité de les appréhender comme ils le veulent<br>As the first studio to have created a CGI animated feature film, Toy Story, whose success initiated a new era in animation production, Pixar Animation Studios occupy a significant position in the actual cultural landscape, and present a great opportunity to study the ways in which objects from cultural industries are produced and consumed. By examining the animated cartoon, from historic and aesthetic perspectives, I intend to determine the evolution of the production system and of the technics, which are related to stylistic changes as well. This study will help us understand the studio system in which Pixar’s movies have taken place. While the ways films are made and seen changed at the end of the last century, Toy Story’s films are the privileged object for an analysis of the transformations of cinema and its uses. By Pixar’s high cultural status, by the textual ambiguity that characterized them or the new representations of masculinity and femininity that they share, animated feature films tend to become "ordinary films", letting viewers grasp them as they want
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Mouli, Richard. "Un modèle d'animation comportementale fondé sur le concept de personnage." Toulouse 3, 1994. http://www.theses.fr/1994TOU30192.
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Le but de l'animation en synthese d'images est de definir des concepts et des outils pour permettre a l'utilisateur de produire des sequences animees. Les travaux que nous presentons s'inscrivent dans le domaine de la problematique liee a la definition des mouvements des objets mis en scene. L'etude que nous avons realisee porte sur un modele de haut niveau. Les objectifs qui ont guides cette recherche sont la conception et la realisation d'un systeme capable d'animer un nombre important d'objets et de prendre en compte les interactions qu'ils subissent. Nous introduisons pour cela le concept de personnage auquel nous associons un comportement. Un personnage est un objet autonome, actif dont l'evolution dans le temps est le produit de l'evaluation de son comportement en fonction de la connaissance qu'il possede sur son environnement local. Nous decomposons l'ensemble des personnages en trois sous-classes (les personnages acomportementaux, reflexes et intelligents) selon le niveau de comportement qui leur est associe. Les personnages peuvent n'etre soumis seulement aux lois de la physique, reagir automatiquement a des situations simples ou utiliser un raisonnement, fonde sur des regles et un moteur d'inference (comme en prolog) pour analyser la situation dans laquelle ils se trouvent pour decider des actions a realiser. Dans les deux derniers cas, ils utilisent un ensemble de capteurs qui leur permettent d'acquerir des informations sur l'environnement et de determiner la situation presente. Nous introduisons le concept de capteur bati sur un mecanisme actif d'interrogation. Nous presentons aussi des solutions dans le domaine de la coherence d'animation. Plus particulierement, nous introduisons une nouvelle approche pour l'echantillonnage de la dimension temporelle. Grace au systeme realise en langage eiffel sur stations de travail unix dans le cadre de cette these, nous avons produit les sequences animees
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Webb, Ian Andrew. "An extension to optic flow analysis for the generation of computer animated images." Master's thesis, University of Cape Town, 1998. http://hdl.handle.net/11427/12526.
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Bibliography: leaves 148-151.<br>This dissertation seeks to develop image based animation methods using the technique of optic flow analysis developed for a moving planar object. Image based rendering is presented as a class of algorithm using two dimensional shortcuts to the problem of three dimensional animation. The optic flow field is used to develop an image based algorithm based on its use as a description of the diffences between consecutive frames of an animation. A Taylor analysis of the optic flow field is the underlying tool used, breaking the field up into a hierarchy of terms. For a moving planar object, we have considerably simplified the second order Taylor terms into a basis of just two independent terms, which can be related closely to a perspective transformation between frames. Perspective transformations capture exactly the optic flow of a moving planar object. Using the simplified decomposition of the flow field for a moving plane, we decompose the frame to frame transformation into a hierarchy of terms of increasing accuracy and cost. Depending on their accuracy we may choose any of these as transformation on an image between frames, instead of rerendering. The errors in the approximation can be tracked via the Taylor series. This dissertation develops the theory and presents an animation algorithm based on optic flow, and then presents the results of various tests of the algorithm in a variety of simple scenes. The results demonstrate the effectiveness of the algorithm and the time saving achieved in animation.
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Mercer, Joanne. "Imag(in)ing God in animation : towards a theological understanding of the textuality of the animated film." Thesis, University of Wales Trinity Saint David, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683340.
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Gao, Huaiying. "The Effects of Still Images and Animated Images on Motion-Related and Non-Motion Related Learning Tasks in College Students of Different Levels of Field Dependence." Diss., Virginia Tech, 2005. http://hdl.handle.net/10919/27130.
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The use of still images in instruction has a long history in the field of education. With the widespread use of microcomputers and the development of graphic software, the ability to create and use animated images has greatly increased; today many people use animated images in their teaching and training activities. Since the use of different types of images in instruction has various influences on studentsâ learning results, the different effects between animated images and still images have been studied widely among researchers. However, the research results are not consistent. Some research results show that animated images are more effective than still images and some show no difference or less effective results.
This experimental study explores the effects of animated images and still images on college studentsâ learning of motion-related tasks and non-motion related tasks, with the students possessing different levels of field dependence-independence. This study found that:
For learning tasks involving motion and/or change, animated images were more effective than still images for college students, and field dependent students benefited more from animated images than did the field independent students. However, for learning tasks that did not involve motion or change, there was no difference in learning results from the use of still images as opposed to animated images. In addition, for such learning tasks, there was no difference in the learning benefits of still images to field dependent versus field independent learners.<br>Ph. D.
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Voisenet, Jacques. "L'imagerie animale des auteurs chretiens du haut moyen age occidental. Heritages et originalite." Toulouse 2, 1990. http://www.theses.fr/1990TOU20016.
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L'imagerie animale que proposent les auteurs chretiens de langue latine appartenant a l'occident du haut moyen age offre a premiere vue un aspect peu original. Ce bestiaire litteraire a ete largement bati a partir de l'heritage judeo-chretien et de celui de l'antiquite paienne. Mais il a egalement beneficie d'heritages plus difficilement identifiables: celte, germanique, oriental. . . La faune medievale presente donc une image dependante, stereotypee et antinaturelle. En effet elle subit une forte pression des divers "heritages" qui en font une figure figee et repetitive. Les clercs ont une approche deliberement non realiste de l'animal qui participe a leur vision morale et theologique de l'univers. Pourtant ce bestiaire temoigne d'une certaine nouveaute. Les auteurs chretiens ne restent pas toujours passifs devant les divers recits, images ou anecdotes qu'on leur legue. Ils en rejettent certains aspects, en selectionnent et modifient d'autres pour les adapter au systeme symbolique du christianisme. Les animaux se distinguent moins par une description ou une interpretation originales que par l'accumulation, autour de leur figure, de sens multiples qui fait de la faune un veritable instrument au service de la foi<br>The animal imagery of christian authors writing in latin in the west during the early middle ages at first sight appears to offer little originality. This literary bestiary is for the major part constructed from the judeo-christian heritage and from the heritage of pagan antiquity. But it has also benefitted from other sources (celtic, germanic, oriental. . . ). The medieval fauna presents an image which is stereotyped and antinatural. It undergoes strong pressure from its different "heritages" which confer on it a rather lifeless and repetitive nature. The clerks have a non-realistic approach to the animal which is part of their moral and theological vision of the univers. This bestiary however does have certain new features. The christian authors do not always remain passive. They dismiss some aspects and change others to adapt them to the system of symbolisism in christianity. The animals stand out less through an original description and interpretation than by the accumulation of many different levels of significance which make them a real instrument in the service of the faith
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Cain, Steven Robert. "The Standing of the Soul: The Search for a Middle Being between God and Matter in the De Statu Animae of Claudianus Mamertus." Thesis, Boston College, 2016. http://hdl.handle.net/2345/bc-ir:105066.
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Thesis advisor: Stephen Brown<br>This thesis is intended as a complement to Fr. Ernest Fortin’s Christianisme et culture philosophique. In that work, he examined the De statu animae of Claudianus Mamertus and its affinity to the thought of the Neoplatonic philosophers (especially Porphyry) in order to make its doctrine more clear. But he also looked at it to see the greatness of philosophical spirit that its author possessed, a remarkable spirit considering the time in which he wrote. Though Fr. Fortin’s work is quite thorough, there are some aspects of the De statu animae that are treated only slightly or not at all. This thesis aims at filling out some of them. The thesis first considers the difficulty of the philosophical question discussed in the work: the incorporeality of the human soul. Among the many difficulties which this question raises is one raised by Faustus of Riez, against whom Claudianus is writing, namely, that of conceiving an incorporeal creature without confounding it with God. It then considers the historical context, both political and philosophical, in which Claudianus lived and wrote. In particular, it brings out the influence of the Emperor Julian in his efforts to replace Christianity with pagan philosophy (especially as influenced by Porphyry and Iamblichus), and his connection with the intellectual life in Gaul. This it does to put into relief the magnanimity of a Christian writer who could look to the philosophy that most influenced the most ardent opponents of Christianity and see in it an ally rather than an enemy. Faustus regarded the philosophers as enemies because he thought them, in their reasonings, to have raised the soul to the dignity of its Creator. Of the philosophers open to this charge of impiety, it is, perhaps, most aptly laid upon the Platonists. A tendency in this direction appears in Plato, and reaches something of an apex in the thought of Plotinus. In Plato’s writings, it appears especially in the Phaedo, which Claudinaus quotes at length in the Second Book. The thesis looks at this dialogue to bring into relief this tendency in the work, and then compares it to Ennead V.1 to show that Plotinus takes the considerations in that dialogue and follows them out to show the kinship between the soul and the divine. Against this background, there are a couple of aspects of De statu animae that emerge. The first is the importance of seeing the soul as a middle being between God and bodily creatures. The second is the importance of seeing the soul as the imago Dei. Claudianus, in spite of his rhetoric, saw the seriousness of the difficulty raised by Faustus, and his work can be read, especially in the First Book, as an attempt to raise the mind of the reader from the fleshy world of sensation to the more beautiful, true, and good world of the spirit. The thesis argues that though the work is polemical, and so formed somewhat in the order of Faustus’s own arguments, Claudianus has worked that order to his own end; this can be seen in his use of the word status. This word is taken from Faustus, who uses it in his letter to name the nature of the soul. Claudianus, without leaving behind that sense, uses it to bring out the importance of understanding the soul’s nature through understanding its standing in the order of beings. His arguments are meant to help the reader to do just that. He first establishes that the world would be more perfect if there were an incorporeal creature, then he argues that there is in fact such a creature, and finally how it is possible for there to be such a creature. In doing so, he relies on ideas of the Neoplatonists, and especially Iamblichus, who looked at the soul as a middle being in order to see it as, one the one hand, less than the beings of the intelligible order, and yet superior to those of the sensible order. It is in this notion of the soul as a middle being that Claudianus finds an account for the changeableness of the soul without relying on matter. To show this, he invokes a distinction among motions: stable, in time, and in time and place. The first belongs to God, the second to the soul, and the last to bodies. This distinction arises from the fact that God is above all the categories of Aristotle, bodies are subject to them all, but the soul is subject only to some. In this way, the soul can be seen to undergo qualitative change, or changes in its affections, without suffering change in place. Thus, though not a body, it is nevertheless subject to change of some sort. And so, though superior to bodies, it falls short of the perfection of its Creator. But running throughout this discussion is the notion of image. And at the end of the book, its importance emerges. When Claudianus turns to a consideration of our act of knowing, the nature of the soul becomes more clear. When the soul turns its attention from bodies to look at itself, what it sees is an image of God, Who is incorporeal. And so, it sees, if it can free itself from the seductions of the images of bodies it has drawn in through the senses, that it is incorporeal. Here he reveals to the reader more fully what he has been trying to do. He has been working to turn the eye of the mind from the world of sensation to look at itself in itself, for if it does this, it will see itself as the imago Dei, and thus incorporeal. In this last aspect of the work especially, we can see the influence of Iamblichus, who, as Carlos Steel has shown, came to conceive of the soul as the image of Intellect precisely to establish it as a middle being between Intellect and the material world. It is an image so that it can be both like and unlike its exemplar. It understands (or more precisely, reasons) and so is like Intellect. But it does so by introducing order into its thoughts so that though always thinking (like Intellect), it moves from one thought to the next. Thus, it introduces time into the world. In this way, it departs from Intellect and becomes subject to change, though not in place. Claudianus recognizes in this a way of conceiving of the soul as incorporeal, therefore like God, and yet subject to change in time, therefore unlike Him, and so a creature. And so he comes to see the soul, in its essence to be the image of its Creator. Claudianus, in his refutation of Faustus, has raised the minds of his readers to lofty heights. Following the teachings of the Platonists, to whom his friend Sidonius likens him in everything except his garb, he has purged his mind from the entrapments of the corporeal world, has raised it to the pure world of being, and found himself a part of it. But those he has followed had been, either directly or indirectly, ardent foes of the faith which he professed and to which he had given his life. Porphyry had composed a work attacking Christianity; and Iamblichus, through his disciples, had inspired Julian with a devotion to the pagan gods that led him to attack the Church both in his writings and in his political endeavors. But unlike Faustus and others like him, he saw a harmony between his faith and his philosophy that gave him confidence that the natural light of reason and the light of revelation could work together to unite his soul to its Beginning, which is also his End<br>Thesis (PhD) — Boston College, 2016<br>Submitted to: Boston College. Graduate School of Arts and Sciences<br>Discipline: Philosophy
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Wiener, Maria. "Integration of live choreography with projections of 3D moving images : juxtaposition of live performers in contemporary dance with projected digital video and 3D animated dance." Thesis, University of Southampton, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.433953.
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Coulon, Marjorie. "La reconnaissance sociale et individuelle chez les bovins domestiques : étude expérimentale avec des images fixes." Paris 13, 2008. http://www.theses.fr/2008PA132037.
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Chez les animaux sociaux, les relations supposent des capacités de discrimination/reconnaissance qui peuvent concerner l’espèce, le groupe ou même un individu. La reconnaissance des congénères nécessite d’une part des invariants phénotypiques de l’espèce et une certaine variabilité entre les individus, et d’autre part les capacités cognitives sous-tendant ces processus. Dans l’étude de comportements sociaux, il est légitime de poser la question de savoir comment les individus perçoivent leurs compagnons, comment ils traitent l’information sociale et quels sont les processus cognitifs mis en jeu. Le but de cette étude a été de caractériser les capacités de reconnaissance sociale et individuelle des bovins, Bos taurus, selon le mode visuel avec des images de têtes d’animaux. Les bovins sont une espèce sociale avec une variabilité phénotypique entre les races et entre les individus, favorable à une approche expérimentale. Et la vue est un canal de communication important dans leurs interactions sociales. L’étude d’un groupe social mixte de génisses, produites ou non par clonage, montre des interactions préférentielles entre sujets issus d’un même mode de production et suppose une certaine reconnaissance. Les génisses interagissent aussi davantage avec des images de congénères familiers dans des expériences de discrimination spontanée. Elles traiteraient ces images comme des représentations d’animaux réels. Des expériences de discrimination, basées sur l’utilisation d’un conditionnement instrumental, ont mis en évidence les capacités de catégorisation des bovins et leurs capacités cognitives de reconnaissance sociale et individuelle. L’ensemble des expériences révèle ainsi des capacités de discrimination visuelle de l’espèce, des congénères familiers, de leur apparentement et de reconnaissance individuelle. Les résultats soulignent l’importance de la familiarité dans la reconnaissance et permettent d’envisager l’étude d’une reconnaissance inter-modale chez les bovins<br>In social animals, relationships are likely supported by capacities of discrimination/recognition at different levels: the species, the social group or even the individual. The recognition of congeners requires stable phenotypic characteristics of the species and some variability among individuals. In the study of social behaviour, it is legitimate to question how individuals perceive their congeners, how they process social information and what are the cognitive processes involved. Animals can have cognitive abilities of social recognition and of complex cognitive abilities involved in individual recognition. Cattle, Bos taurus, are a social species with a wide phenotypic variability between breeds and between individuals, which allow an experimental approach of social and individual recognition. The aim of this study was to characterize cognitive visual capacities in cattle, using still images of faces of animals in a simultaneous discrimination task. Indeed in cattle, vision is an important mode used in social communication. The observation of a mixed group of heifers produced by cloning or artificial insemination (A. I. ) shows preferential interactions between cattle from the same category (clones-clones or A. I. -A. I. ) involving recognition capacities. Moreover, heifers interact more with images of cows and familiar congeners in spontaneous discrimination tasks. This leads to suppose that they associate still images with representations of real animals. Experiences of discrimination, based on the use of instrumental conditioning, show capacities of categorization in cattle and cognitive abilities of individual and social recognition. Our experiments show capacities of visual discrimination of the species, of familiar congeners, of kin and of individual recognition. All the results underline the role of familiarity in the recognition process. New opportunities for the study of inter-modal recognition in cattle are opened
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Pichon, Denis. "Analyse d'images en biotechnologie : quantification de la morphologie de micro-organismes filamenteux au cours de fermentation et suivi de croissance de cellules animales sur microporteurs." Vandoeuvre-les-Nancy, INPL, 1993. http://www.theses.fr/1993INPL146N.
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Les procédés biotechnologiques mettant en œuvre les micro-organismes ou les cellules en général ont souvent recours à l'observation microscopique pour acquérir des informations concernant la morphologie ou le nombre de cellules. C'est notamment le cas des micro-organismes filamenteux dont la morphologie est très complexe et des cellules animales qui croissent sur des microporteurs. Un moyen sur de quantifier les observations microscopiques est l'analyse quantitative d'images. Nous avons utilisé l'analyse d'images pour caractériser les différentes populations morphologiques de micro-organismes filamenteux. Un critère permettant de déterminer leur degré d'enchevêtrement a été mis au point. Deux grandes familles morphologiques sont reconnues: les pelotes et les mycelia libres appelés non-pelotes. Une classification basée sur le critère d'enchevêtrement des non-pelotes permet d'obtenir trois classes d'individus: les filaments, les entrecroisements et les enchevêtrements. Nous avons réalisé le suivi de l'évolution des différentes formes citées ci-dessus au cours de fermentations de streptomyces ambofaciens produisant ou non un antibiotique: la spiramycine. Nous avons remarqué que la phase de production de ce produit est contemporaine de modifications morphologiques certaines. D'autre part, l'analyse d'images a permis de quantifier le processus de colonisation de microporteurs servant de support à la croissance de cellules animales en culture en réacteurs agités. Nous avons montré que les microporteurs de taille moyenne (163 et 183 um) étaient les plus représentatifs de la croissance globale. L'analyse d'images est un outil performant qui a montré ses possibilités dans ces deux applications. Des extensions pour son application en ligne sont proposées
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Cabrera, M. Tamara A. "Vínculos, imagen de sí mismo e imagen de mundo en niños y niñas de 6 a 10 años víctimas de agresión sexual, a través del Test de Apercepción Temática Infantil con Figuras Animales (CAT-A)." Tesis, Universidad de Chile, 2016. http://repositorio.uchile.cl/handle/2250/139503.
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Psicóloga<br>Utilizando como instrumento de recolección de datos el Test de Apercepción Temática Infantil con Figuras Animales (CAT-A) se analizan a través de metodología cualitativa 10 narrativas de niños y niñas víctimas de agresión sexual de 6 a 10 años, buscando explorar y describir dimensiones del desarrollo: vínculos, imagen de sí mismo e imagen de mundo, dando cuenta de la afectación por la victimización. Analizando el contenido de las historias se obtiene como resultados: en la categoría Vínculos predomina una figura materna que satisface necesidades físicas y emocionales y la presencia de figuras negativas que pueden y hacen daño. La Imagen de sí mismo se configuraría como predominantemente negativa, construyéndose en la relación con otro y desde la afectividad. La Imagen de mundo es principalmente negativa, amenaza la integridad de sí mismo y otros. Además el CAT-A logrará dar cuenta de posibles consecuencias en la corporalidad y un posible reconocimiento de la figura del agresor
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Janse, Van Vuuren Michaella. "Human Pose and Action Recognition using Negative Space Analysis." Diss., University of Cape Town, 2004. http://hdl.handle.net/10919/71571.
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This thesis proposes a novel approach to extracting pose information from image sequences. Current state of the art techniques focus exclusively on the image space occupied by the body for pose and action recognition. The method proposed here, however, focuses on the negative spaces: the areas surrounding the individual. This has resulted in the colour-coded negative space approach, an image preprocessing step that circumvents the need for complicated model fitting or template matching methods. The approach can be described as follows: negative spaces surrounding the human silhouette are extracted using horizontal and vertical scanning processes. These negative space areas are more numerous, and undergo more radical changes in shape than the single area occupied by the figure of the person performing an action. The colour-coded negative space representation is formed using the four binary images produced by the scanning processes. Features are then extracted from the colour-coded images. These are based on the percentage of area occupied by distinct coloured regions as well as the bounding box proportions. Pose clusters are identified using feedback from an independent action set. Subsequent images are classified using a simple Euclidean distance measure. An image sequence is thus temporally segmented into its corresponding pose representations. Action recognition simply becomes the detection of a temporally ordered sequence of poses that characterises the action. The method is purely vision-based, utilising monocular images with no need for body markers or special clothing. Two datasets were constructed using several actors performing different poses and actions. Some of these actions included actors waving their arms, sitting down or kicking a leg. These actions were recorded against a monochrome background to simplify the segmentation of the actors from the background. The actions were then recorded on DV cam and digitised into a data base. The silhouette images from these actions were isolated and placed in a frame or bounding box. The next step was to highlight the negative spaces using a directional scanning method. This scanning method colour-codes the negative spaces of each action. What became immediately apparent is that very distinctive colour patterns formed for different actions. To emphasise the action, different colours were allocated to negative spaces surrounding the image. For example, the space between the legs of an actor standing in a T - pose with legs apart would be allocated yellow, while the space below the arms were allocated different shades of green. The space surrounding the head would be different shades of purple. During an action when the actor moves one leg up in a kicking fashion, the yellow colour would increase. Inversely, when the actor closes his legs and puts them together, the yellow colour filling the negative space would decrease substantially. What also became apparent is that these coloured negative spaces are interdependent and that they influence each other during the course of an action. For example, when an actor lifts one of his legs, increasing the yellow-coded negative space, the green space between that leg and the arm decreases. This interrelationship between colours hold true for all poses and actions as presented in this thesis. In terms of pose recognition, it is significant that these colour coded negative spaces and the way the change during an action or a movement are substantial and instantly recognisable. Compare for example, looking at someone lifting an arm as opposed to seeing a vast negative space changing shape. In a controlled research environment, several actors were instructed to perform a number of different actions. After colour coding the negative spaces, it became apparent that every action can be recognised by a unique colour coded pattern. The challenge is to ascribe a numerical presentation, a mathematical quotation, to extract the essence of what is so visually apparent. The essence of pose recognition and it's measurability lies in the relationship between the colours in these negative spaces and how they impact on each other during a pose or an action. The simplest way of measuring this relationship is by calculating the percentage of each colour present during an action. These calculated percentages become the basis of pose and action recognition. By plotting these percentages on a graph confirms that the essence of these different actions and poses can in fact been captured and recognised. Despite variations in these traces caused by time differences, personal appearance and mannerisms, what emerged is a clear recognisable pattern that can be married to an action or different parts of an action. 7 Actors might lift their left leg, some slightly higher than others, some slower than others and these variations in terms of colour percentages would be recorded as a trace, but there would be very specific stages during the action where the traces would correspond, making the action recognisable.In conclusion, using negative space as a tool in human pose and tracking recognition presents an exiting research avenue because it is influenced less by variations such as difference in personal appearance and changes in the angle of observation. This approach is also simplistic and does not rely on complicated models and templates
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Canelo, Ramos Patricia Mery Anne. "Estrategia de comunicación digital para la captación y retención de voluntariado en asociaciones sin fines de lucro en pro del bienestar de animales domésticos en Lima Metropolitana y Callao." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2016. http://hdl.handle.net/10757/621655.
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Analiza los factores y características a considerar para el desarrollo de lineamientos de gestión estratégica de comunicación digital en el contexto de asociaciones sin fines de lucro para la captación y retención de voluntariado.
En esta línea, para el logro de este objetivo, se desarrolla un marco teórico, que brinda los fundamentos para la elaboración de la investigación, y un marco metodológico que analiza datos cualitativos y cuantitativos que posibiliten la comprensión del contexto del estudio.
Respecto de los fundamentos teóricos, se expone, en primer lugar, sobre las características de la comunicación en las organizaciones y cómo éstas han ido cambiando por el avance vertiginoso del ámbito digital; en segundo lugar, se enfatiza en la importancia de la comunicación estratégica para el logro de un posicionamiento óptimo que contribuya al alcance de resultados; en tercer lugar, se explica el fenómeno de la migración del espacio físico al ámbito digital y como ello ha creado nuevos espacios sociales de conversación; en cuarto lugar, se profundiza en el papel que cumplen las organizaciones del Tercer Sector y sus áreas de intervención e influencia en la sociedad del siglo XXI; finalmente, en quinto y último lugar, se explica el importante papel del voluntariado como agente de cambio.
Teniendo como base estos pilares teóricos, se pretende lograr el planteamiento inicial por medio del estudio minucioso de las instituciones seleccionadas para esta investigación. Para ello, se emplean cuatro técnicas de investigación: el análisis de contenido de las herramientas digitales de “Grupo Caridad” y “Divina Creación”, la aplicación de entrevistas en profundidad a los encargados de la comunicación de estas organizaciones y a la directora del área de Vida Universitaria de la Universidad Peruana de Ciencias Aplicadas (UPC), encuestas a voluntarios de las organizaciones seleccionadas para el estudio y a potenciales voluntarios (jóvenes universitarios de la UPC). Finalmente, se realiza un panel de expertos especializados en comunicación digital que indaga sobre la gestión integral, debilidades, oportunidades y retos en este contexto.
En base a toda esta investigación, se concluye que el avance y crecimiento de las instituciones intervenidas no ha ido a la par con el desarrollo del escenario digital, por lo que no aprovechan el máximo potencial de estas herramientas. Es por ello que no han articulado estrategias que les permitan captar y retener fuerzas de voluntariado, que posibilite la continuidad de funciones y el logro de metas y resultados medibles y cuantificables. Ante ello, esta investigación plantea unos lineamientos de gestión de la comunicación digital que contemplan las necesidades, problemáticas y frentes de mejora de este tipo de organizaciones.
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Lobodenko, Kateryna. "Images fixes – Images animées ˸ les expériences communicables de l’exil russe en France (1920 – 1939)." Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030053.
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Cette thèse se propose d’explorer, à travers la figure de l’émigré russe dans le cinéma et la caricature de presse parus en France dans l’entre-deux-guerres, les différentes représentations de la Russie. Il s’agit, tout d’abord, de la Russie en exil, une Russie mosaïque regroupant de nombreuses ethnicités venues de différents endroits de l’ancien Empire russe, comprenant, en elles-mêmes, une large palette sociale (des aristocrates et notables aux personnes sans rang, ni profession), professionnelle (artistes, hommes politiques, militaires, ouvriers), politiques (monarchistes, libéraux, révolutionnaires socialistes, anarchistes), religieuse, éducative et culturelle. Nous nous intéressons alors aux façons dont cette Russie en exil est perçue et représentée par les artistes nostalgiques de leur passé, caricaturistes et cinéastes émigrés, mais aussi par les réalisateurs français passionnés de l’orientalisme et de la « mode russe » qui en découle. En deuxième lieu, nous appréhendons les manières dont les artistes émigrés traitent de la Russie soviétique, à savoir : des dirigeants bolcheviques, des Soviétiques ordinaires et de leur quotidien. Nous nous penchons, également, sur la notion d’expérience communicable, employée par Walter Benjamin, et sur les différentes façons dont l’expérience de la vie en exil pourrait être transmise au public émigré et français<br>This thesis proposes to explore different representations of Russia through the figure of the Russian emigrant in the film and press cartoons published in France in the inter-war period. First of all, it discusses Russia in exile, a mosaic Russia which contains numerous ethnicities hailing from various locations of the former Russian Empire. These ethnicities thus comprise a large palette of social features (from aristocrats and notable people to those without any titles or professions), professional ones (artists, politicians, military men, workers), political ones (monarchists, liberals, socialist revolutionaries, anarchists), religious, educational and cultural ones. We are therefore interested in the ways that this Russia in exile is perceived and represented by the artists who are nostalgic of their past, emigrant caricaturists and film-makers, as well as French film directors who were passionate about Orientalism and the subsequent “Russian fashion”. Secondly, we capture the ways in which the emigrant artists deal with Soviet Russia, namely the Bolshevik leaders, ordinary Soviet people and their everyday lives. We also look at the notion of communicable experience, which is employed by Walter Benjamin, and different ways in which the life in exile could be communicated both to the emigrant public and to the French one
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Moya, Payá Javier. "Estudio de la conectividad funcional en cerebros de animales de experimentación a partir del análisis de imágenes de resonancia magnética mediante técnicas de clasificación no supervisada." Doctoral thesis, Universitat Politècnica de València, 2012. http://hdl.handle.net/10251/18238.
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Moya Payá, J. (2013). Estudio de la conectividad funcional en cerebros de animales de experimentación a partir del análisis de imágenes de resonancia magnética mediante técnicas de clasificación no supervisada [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/18238<br>Palancia
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Godoy, Adriana Cristina de. "As imagens na sala de aula: produção de conteúdo visual no ensino de História e Geografia local." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/59/59140/tde-19022014-173117/.
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A pesquisa envolve uma escola da Rede Pública Municipal de Ribeirão Preto-SP que participou de um Projeto denominado Curtas de Animação, promovido pelo Núcleo de Cinema de Animação de Campinas-SP e financiado pelo Instituto Algar, no ano de 2010. Um dos produtos finais gerados nessa escola foi um curta de animação de quatro minutos e onze segundos de duração. O referido projeto teve duas fases. A primeira incluiu vários alunos do Ensino Fundamental que foram envolvidos por pesquisas e aulas sobre a localidade. Aspectos históricos, culturais e relacionados ao meio ambiente foram priorizados. Na segunda fase, participaram treze alunos e esta pesquisadora (que atuava como professora de História na escola). Junto com a equipe do Núcleo de Cinema de Animação de Campinas, esse grupo iniciou um processo de produção de um curta de animação denominado pelos alunos como Ribeirão Preto - terra do café. A pesquisa foca no contexto do estudo da imagem e da produção imagética feita pelos próprios alunos no Projeto. As questões principais são: Como a leitura e a produção de material imagético pelos alunos podem colaborar (ou não) com o aprendizado e o interesse pelo estudo da História e Geografia local? Passado o tempo da realização do projeto, o que ficou do conhecimento de História e Geografia da localidade para os alunos participantes? A pesquisa busca estudar como a produção de material pelos alunos pode colaborar na aprendizagem de conhecimentos da História e Geografia local, possibilitada pelo Projeto Curtas de Animação, além de descrever e compreender todas as etapas do processo de produção do curta de animação, analisar, sob a ótica dos alunos, quais os impactos na aprendizagem dos conhecimentos de História e Geografia local e compreender as habilidades na leitura de imagens diversas. O referencial teórico abrange tanto as pesquisas realizadas no âmbito do estudo das imagens como as pesquisas relativas ao seu uso no ensino de História e Geografia. Três questionários abrangendo as três fases do processo de produção do curta de animação foram aplicados a quatro alunos participantes do Projeto. O resultado dos mesmos é analisado à luz das referências, com foco na questão do Ensino de História e Geografia local. A imagem faculta a percepção do espaço em suas mudanças e permanências, semelhanças e diferenças, tendo em vista seu uso para o estudo da localidade. No entanto os livros didáticos não viabilizam este uso, devido ao fato de estamparem representações de espaços, muitas vezes, distantes da realidade do aluno, principalmente daquele que não vive nos grandes centros urbanos. Os resultados obtidos procuram apontar para uma abordagem da questão das imagens no Ensino de História e Geografia, passando pelo pensar sobre a imagem, por si, e pelo caminho percorrido pelo seu uso e assimilação como documento histórico e das representações da paisagem geográfica, assim como da sua produção em sala de aula.<br>The present research involved a school from the public network of the city of Ribeirão Preto, which took part in a Project called Curtas de Animação (Animated shorts) in 2010. The project was promoted by the Núcleo de Cinema de Animação de Campinas SP (Center of Animation Movies of Campinas SP) and sponsored by Algar Institute. One of the final products at the aforementioned school was an animated short four minutes and eleven seconds long. The project consisted of two phases. In the first phase, several middle school students had classes and carried out researches about the municipality. The focus was on historical, cultural and environmental aspects. The second phase had the participation of thirteen students and the researcher (who worked as a History teacher at the school). Along with the staff of the Núcleo de Cinema de Campinas, this group began the production of an animated short named by the students Ribeirão Preto terra do café (Ribeirão Preto the land of coffee). This research focuses on the context of such production. The main questions are: How can reading and producing visual material help (or not) students to learn and get interested in studying local History and Geography? After the project ended, what knowledge of the local History and Geography remained for the participating students? The research looks at how the production of material by the students, as it was made possible through the Project Curtas de Animação, can help the learning process and improve the knowledge about local History and Geography. It also describes and explains all the steps in the process of the production of the animated short; analyses, from the students perspective, what were the impacts on the acquisition of knowledge about the local History and Geography and looks at the skills used for reading different images. The theoretical frame of reference covers both researches on the use of images, as well as the ones about the use of images in History and Geography classes. Three questionnaires covering the three steps of the production process of the animated short were applied to four students who participated in the Project. The results were analyzed according to the references, with special emphasis on the issue of teaching local History and Geography. Images provide a perception of the way the space shifts or stays the same, of its similarities and differences, in view of their use for studying the locality. However, textbooks do not enable this use, since they often picture representations of spaces that are far from the students reality, especially from those who do not live in large urban centers. The results seek an approach for the use of images in teaching History and Geography by reflecting about the image itself and about the path taken during its use and its assimilation as a historical document or a representation of the geographical landscape, as well as its production in the classroom.
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Robaard, Roman. "EXISTEXION." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2016. http://www.nusl.cz/ntk/nusl-240597.
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Leloup, Marine. "Etude expérimentale du comportement des aérosols et de leurs dépôts dans un élévateur à godets : impact sur la contamination croisée en alimentation animale." Phd thesis, Ecole des Mines de Nantes, 2012. http://tel.archives-ouvertes.fr/tel-00731654.
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La problématique des contaminations croisées (transfert inter-lots de micro-ingrédients : additifs et/ou produits médicamenteux) dans le secteur de l'alimentation animale est entrée, depuis quelques décennies, au cœur des préoccupations de la profession. Ce phénomène se décompose en 2 phases : le dépôt de particules par un lot de fabrication et sa récupération par le/les lot(s) suivant(s). Plusieurs études expérimentales, ont incriminé l'élévateur à godets post-mélangeur dans l'augmentation du niveau de contamination d'une ligne de fabrication. Cet appareil de manutention achemine verticalement des mélanges pulvérulents de diverses matières premières, pouvant contenir, en particulier, des additifs ou des produits médicamenteux. L'objectif de ces travaux est de comprendre dans quelles mesures cet appareil est source de transfert inter-lots, et quels paramètres liés au procédé entrent en jeu. Plusieurs outils ont été mis en place et la réalisation d'un plan d'expériences a permis de mettre en lumière l'impact de certains facteurs sur la contamination croisée :d'une part, le mode de vidange (lié à la vitesse de la sangle) en tête de l'élévateur et l'angle de la bavette de jetée agissent sur la quantité de micro-ingrédient déposée lors du passage d'un lot, et d'autre part, l'espace autour des godets, modifie la capacité du lot suivant à collecter les reliquats.Ces informations définissent une position optimale des paramètres de l'élévateur qui, sur pilote, réduit le niveau de contaminations croisées de 9 à 7 %. Enfin, des observations des champs de vitesses pendant la jetée du produit ont apporté de éléments de compréhension sur mouvements d'air et d'aérosols à l'origine des contaminations.
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Riebel, Maëva. "Catégories esthétiques, catégories humaines, catégories animales et « race nationale » : les peintures de castes au Mexique ou les ressorts ambigus de la construction d’une identité moderne." Thesis, Aix-Marseille, 2018. http://www.theses.fr/2018AIXM0355/document.
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Inscrit dans une approche croisant iconographie, anthropologie et histoire, ce travail porte sur les peintures de castes au Mexique au XVIIIe siècle. Ce genre – unique au sein de l’art colonial et plus largement occidental – narre le métissage entre Espagnols, Amérindiens et Africains en Amérique coloniale. Il s’agira ici d’étudier les représentations sociales et raciales engagées dans les œuvres, de dégager leurs logiques, tout en explorant leurs arrière-plans historiques et anthropologiques. Nous tenterons de démontrer que cette mise en image du métissage se nourrit d’un imaginaire aristocratique européen qui structure un rapport à l’animalité dont la famille consanguine est le parangon, mais également d’un mode de pensée indigène qui conçoit une certaine fluidité entre les ontologies humaine et animale. En même temps, nous mettrons en relief la manière dont ce genre pictural articule la classification spontanée du Nouveau Monde qui se donne libre cours aux prémices de la Colonisation et la classification savante caractéristique du Siècle des Lumières. Nées de l’interpénétration de ces différents cadres civilisationnels, les peintures de castes constituent un objet fondamentalement « métis »<br>This study explores the paintings of castes in 18th century Mexico, combining iconography, anthropology and history. This type of painting, of a unique kind within colonial and even Western art, tells the story of the interbreeding between Spaniards, American Indians and Africans in colonial Central America. The research focuses on the social and racial representations that appear in the artistic productions and the logic that they reflect. The historical and anthropological background is also examined. We will attempt to show that the graphic presentation of miscegenation feeds on a European aristocratic fantasy that shapes a relationship to the animalistic nature symbolized by consanguineous family, and also on an indigenous pattern of thought that allows some fluidity between human and animal ontology. Moreover, we shall point out the way in which this pictorial genre expresses the spontaneous classification of the New World that flows freely during the premises of the colonization and the scientific classification specific to the Enlightenment. These caste paintings are the produces of two cultural surroundings and form an inherently cross-bred subject
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Garguet-Duport, Bruno. "Fusion d'images et télédétection en écologie du paysage : application à l'étude structurale d'un corridor fluvial alpin." Grenoble 1, 1994. http://www.theses.fr/1994GRE10159.
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Cette thèse s'inscrit dans le cadre de la fusion d'images satellitaires et de son application à l'étude écologique des grandes plaines d'inondation. Ce travail associe le domaine de l'écologie et celui du traitement d'images. Dans la première partie nous présentons les concepts de base de l'écologie du paysage (Landscape Ecology), l'apport de l'outil télédétection dans cette nouvelle branche de l'écologie et les principales techniques de traitement d'images utilisées dans les applications de télédétection en écologie. Dans la deuxième partie nous exposons les principes du recalage géométrique d'images, étape préalable à toute méthode de fusion. Nous indiquons également les limites d'utilisation des méthodes basées sur des modèles polynomiaux de déformation. Enfin, nous présentons une méthode de création d'ortho-images fondée sur l'utilisation d'un modèle numérique de terrain et sur une modélisation rigide de la prise de vue. Dans la troisième partie, après avoir discuté des méthodes de fusion, nous introduisons la transformée en ondelettes et l'analyse multirésolution. Ensuite, nous développons une nouvelle méthode de fusion fondée sur ces deux outils mathématiques issus du domaine du traitement du signal. Nous évaluons, enfin, les capacités de cette méthode pour la création de documents cartographiques permettant l'analyse structurale d'une plaine d'inondation : la confluence «Arc-Isère».
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Grossi, Jean-Luc. "Caractérisation écologique et statut dynamique des écosystèmes post-culturaux dans différentes situations bioclimatiques alpines : intéret des descripteurs liés à l'humus." Grenoble 1, 1995. http://www.theses.fr/1995GRE10091.
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Cette recherche contribue a une meilleure comprehension des interactions sol/plante dans le fonctionnement et l'evolution des ecosystemes post-culturaux dans differentes regions bioclimatiques des alpes francaises. Elle aborde en fait un sujet d'ecologie fonctionnelle qui touche aux preoccuppations actuelles des recherches sur l'evolution des ecosystemes et des paysages dans le contexte des changements d'utilisation des milieux naturels par l'homme (deprise agricole). Les descripteurs lies a l'humus sont utilises ici pour evaluer les ecosystemes en cours d'evolution, en particulier les phases a boisements feuillus. C'est pourquoi l'etude de la faune du sol a ete couplee a l'etude structurale de l'humus en faisant appel a l'analyse d'images assistee par ordinateur. Une confrontation de cette methode avec celles, plus globales et plus classiques relatives a la phytoecologie et l'hydropedologie montre tout l'interet de cette approche dans les situations d'evolution rapide du couvert vegetal (quelques decennies). L'etude des boisements spontanes dans differentes situations bioclimatiques permet une meilleure evaluation du statut dynamique de ces formations, longtemps negligees par ecologues et forestiers. Ces connaissances sont enfin utilisees pour aider les gestionnaires des espaces ruraux a mieux orienter leurs interventions
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Guis, Hélène. "Géomatique et épidémiologie : caractérisation des paysages favorables à Culicoides imicola, vecteur de la fièvre catarrhale ovine en Corse." Phd thesis, Université de Franche-Comté, 2007. http://tel.archives-ouvertes.fr/tel-00846255.
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Du fait de changements environnementaux multifactoriels (pression anthropique, climat...), la répartition des vecteurs et des maladies qu'ils transmettent se modifie. La fièvre catarrhale ovine (FCO), arbovirose des ruminants s'étant récemment propagée dans le bassin méditerranéen, constitue un modèle pertinent pour étudier les conditions d'installation d'un vecteur exotique dans un nouvel environnement. Nous proposons ici d'utiliser la télédétection et l'analyse paysagère pour caractériser l'environnement favorable à la FCO et à son principal vecteur, Culicoides imicola, à une échelle locale, en Corse. Pour cela, l'environnement en lien avec les traits de vie du vecteur a été caractérisé au voisinage d'élevages sains ou infectés (approche maladie) et de sites de piégeages où le vecteur est présent ou absent (approche vecteur), en testant trois tailles de voisinage, à partir d'un modèle numérique de terrain, du réseau hydrographique et d'une image à haute résolution spatiale issue du satellite SPOT. La classification de l'image a permis de produire une carte d'occupation du sol à partir de laquelle des indicateurs paysagers reflétant la structure spatiale et la composition de la végétation ont été extraits. Les modèles liant environnement et présence/absence de la maladie ou du vecteur ont été validés en interne et en externe. Les résultats ont confirmé que les milieux favorables au vecteur et à la maladie pouvaient être caractérisés par des facteurs environnementaux autres que climatiques et ont mis en évidence l'importance des indicateurs paysagers aux trois échelles de voisinage. Ils ont montré que les milieux favorables présentaient une diversité et une fragmentation importante. La latitude, pouvant refléter la proximité à la Sardaigne, est également identifiée comme étant une variable liée au risque de présence du vecteur et de la maladie. La plupart des modèles ont présenté une capacité de discrimination élevée rendant possible leur utilisation à des fins de prédictions en Corse et sur d'autres territoires. Ils pourraient notamment servir à cibler les actions de surveillance sur le littoral continental français. Parmi les perspectives de travail, peuvent être envisagées l'application d'une démarche similaire sur les autres espèces de Culicoides impliqués dans la transmission de la FCO, l'intégration de paramètres climatiques, la recherche de nouveaux paramètres issus de données de télédétection et la conception de modèles dynamiques de capacité vectorielle.
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BARKEY, ROLAND ALEXANDER. "Etudes des mangroves de l'indo-malaisie et application des techniques de la teledetection a sulawesi." Toulouse 3, 1987. http://www.theses.fr/1987TOU30228.
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L'objet de cette recherche est de tenter de caracteriser les mangroves des regions equatoriales humides sur le terrain et a partir d'enregistrements spatiaux. Dans la premiere partie, une synthese biogeographique sur les peuplements de paletuviers permet de faire apparaitre et de comprendre les variations des types de mangroves et de situer les mangroves indonesiennes dans un contexte plus general. La deuxieme partie represente une etude sur les mangroves du golfe de bone a sulawesi (indonesie)
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Invartsen, Mette. "EXPANDED CHOREOGRAPHY : Shifting the agency of movement in The Artificial Nature Project and 69 positions." Doctoral thesis, Stockholms konstnärliga högskola, Institutionen för dans, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-177.
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Through two books and a series of video documentations of live performances Mette Ingvartsen makes choreography into a territory of physical, artistic and social experimentation. The Artificial Nature Series focusses on how relations between human and non-human agency can be explored and reconfigured through choreography. By investigating and creating a ‘nonhuman theater’ questions regarding material agency, ecology, natural disasters, the Anthropocene and non-subjective performativity are posed. The resulting reflections are closely related to the poetic principles utilized to create the performances, while also drawing connections to territories outside theater. By contrast, 69 positions inscribes itself into a history of human performance with afocus on nudity, sexuality and how the body historically has been a site for political struggles. By creating a guided tour through sexual performances – from the naked protest actions of the 1960’s, through an archive ofpersonal performances into a reflection on contemporary sexual practice – this solo work rethinks audience participation and proposes a notion of soft and social choreography. The contrasting performative strategiesarticulate a twofold notion of expanded choreography: on the one hand movement is extended beyond the human body by including the agency of nonhuman performers, and on the other hand, movement is expanded into animaginary and virtual space thanks to ‘language choreography’.<br><p>LINKS</p><p>https://vimeo.com/164552586</p><p>https://vimeo.com/164558381</p>
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Gerun, Yvan. "Le véhicule et son iconographie au Proche-Orient ancien du IVème au début du premier millénaire avant J.C." Thesis, Strasbourg, 2015. http://www.theses.fr/2015STRAG061.
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L’apparition du véhicule s’inscrit dans l’espace géographique du Proche-Orient ancien qui joue un rôle de premier plan dans la domestication, le dressage et le contrôle des grands mammifères. Dès les origines, à la fin du IVème millénaire, une iconographie se développe en lien étroit avec l’idéologie royale qui s’exprime sous la forme de rites collectifs. La fonction sociale du véhicule est donc privilégiée au dépend d’un rôle dans le transport dont l’importance reste incertaine. Une composante religieuse paraît souvent présente en arrière plan avec, en particulier, la présence de modèles réduits en terre cuite au rôle probablement votif. La production de ces représentations se poursuit au moins jusqu’au premier millénaire avant J.C. avec des thèmes constants : chasse, domination, ennemi piétiné. Un apogée, dans la variété des scènes et des supports, se situe aux DA IIIb. La production globale reste assez irrégulière et semble associée à des sites spécifiques, souvent dans des périodes d’apogée politique<br>The appearance of the vehicule in the Ancient Near East occurs in a space who is a leader for the taming, the training and the control of the big mammals. From the origins, at the end of the 4th millennium, an iconography develops linked with royal ideology (with social rituals). The social function is more important than the transport function. There is always a link with religion. Probably terracotta models have a votive function. There are numerous vehicles in the iconography at least until the first millennium BC. The themes are : hunting, domination, trampled enemy. There is a peak of quality in the ED IIIb. Globally the production is irregular: in some powerful estates
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Chang, Chih-Kai, and 張智凱. "Generation of Animated Panoramic Image by OpenCV." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/58153873455751382844.
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碩士<br>國立宜蘭大學<br>多媒體網路通訊數位學習碩士在職專班<br>101<br>In our previous publications, an approach for generating an animated stereo panoramic image from a single video sequence was proposed. A preliminary program was also developed to allow user input the video sequence and specify the desired dynamic regions within the scene. The program would generate a pair of stereo panoramic image embedded with those user-specified animated video textures. The main contribution of this thesis is to enhance the program’s performance by adopting OpenCV functions. We claim that the updated program is able to reduce the total image generation time by 30 to 50 percent. Moreover, the visible seams surrounding the animated video textures in our previous program version has now been removed.
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Tseng, Chih-An, and 曾至安. "Image-based Synthesis of Animated Expressions Based on 3D Facial Models." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/79529921144382889575.
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碩士<br>國立中正大學<br>電機工程所<br>97<br>Recently, facial expression recognition and synthesis have become popular research topics. We develop a system for 3D facial expression synthesis, which relies on 3D facial model construction from a single neutral expressions image.
The 3D facial model constructed is customized, by which faithful 3D facial expression can be animated. First, active appearance model (AAM) is used to extract 2D facial feature points, which in combination with the measured depth, and further Delaunay triangulation, constructs a 3D facial model. 3D facial expression animation includes the use of a linear model to represent facial shape variations, the use of expression ratio image (ERI) to describe texture variation, and the simulation of head movement to enhance animation. In addition, we built a database of 3D facial models, which are classified into several classes by the k-means clustering approach.
Experimental results show customized 3D facial models, synthesis of several expressions and expression transition between them. Our system is capable of synthesizing 6 kinds of expressions from an unknown neutral expression image.
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Hier, Lawrence. "Comparison of lip position in males and females using computer animated imaging." 1997. http://catalog.hathitrust.org/api/volumes/oclc/48191031.html.
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Thesis (M.S. in oral sciences)--University of Illinois at Chicago, 1997.<br>eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.
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Chen, Shin-You, and 陳信佑. "Chaos World in search of original creation essence an animated image projection work." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/jbzy54.
Full textAbstract:
碩士<br>實踐大學<br>時尚與媒體設計研究所<br>101<br>"Original" is the goal what creators pursue; in the process of searching
creation inspiration, copy behavior may occur conceptually or executively,
in which has been rejected by everyone. How should creators look at the
procedure?
In Chapter One, I discuss the developing of creativity environment nowadays,
and explain the creative motivation; In Chapter Two, I collect the creativity
styl es which has been used for motion graphic nowadays, and re-study its
process of creation. Chapter Three is the concept development based on
this idea to re-think the history of past works and re-located the direction
and content of this creation. Chapter Four record the creativity process to
notes the usage of creation skills that I've learned so far, and to observe the
evolution of the work. Chapter Five is my thoughts and suggestions of this
work.
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Chang, Yao-tsung, and 張耀聰. "The Impact of Animated Spokes and Brand Image on Perceived Value and Purchase Intention." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/25067999570853047232.
Full textAbstract:
碩士<br>東吳大學<br>企業管理學系<br>100<br>In recent years, some corporations are trying to
focus on their business strategies from the
cost-oriented to the perceived value of the
products and service. Creating the unique value of the products and services not only differentiates from the competitors, but also enhances the
purchase intention of the customers and gains
higher profit .
The competition between the convenience stores in Taiwan is quite fierce. The products and service
which offered by the store are relatively
homogenous. Convenience stores through
spokesperson, sponsorship and charitable
activities to create a unique brand image in
consumers and to enhance the purchase intention ofthe customers.
This study examines whether the preference of
animated spokes and brand image are related
positively to the comsumer’s perceived value and
purchase intention and the fit between brand and
event as moderator. The result show that:
(1) Preference of animated spokes will
positively effect on comsumer’s perceived value of brand.
(2) Brand image will positively effect on
comsumer’s perceived value of brand.
(3) Comsumer’s perceived value of brand will
positively effect on comsumer’s purchase intention of brand.
(4) Comsumer’s perceived value is the mediator between preference of animated spokes, brand
image and purchase intention of brand.
(5) The fit between brand and fit is the
moderator between preference of animated spokes,
brand image , comsumer’s perceived value and
purchase intention of brand.
In practical suggestions, the corporations can
select the animated spokes, build commendable
brand image and pay attention in the fit between
brand and event that enhance the perceived value , promote the purchase intention and establish long-term and stable customer relationship.
Key Words: Animated spokes, Brand image, Perceived value, Purchase intention and
Fit between brand and event.
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Vav, Rooyen Rachel. "The invisible image: a study on animated representation in the adaptation of the Bible." Thesis, 2019. https://hdl.handle.net/10539/29341.
Full textAbstract:
A thesis submitted to the Faculty of Humanities in fulfilment of the requirement for the degree Masters of Arts in digital, University of the Witwatersrand, Johannesburg, 2019<br>The adaptation of the Bible into visual media has been practiced for centuries. To find out why visual adaptation techniques were used for biblical accounts into animation, this paper compares panel-based image story-telling techniques against those of animation. It does so by providing an in-depth analysis of the representational processes involved for animation to communicate meaning, namely Roland Barthes’s photographic Connotation Procedures in relation to Frank Thomas and Ollie Johnston’s principles of animation, and Foucault’s discussion of discourse.<br>NG (2020)
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CHOU, SHU-PING, and 周淑萍. "The Impact of Animated Spokes-Characters on Brand Image, Travel Attraction and Travel willingness in Tourism Factory." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/2vum88.
Full textAbstract:
碩士<br>世新大學<br>觀光學研究所(含碩專班)<br>106<br>In 2003, the government started to transform the traditional industries into tourism factories that combined tourism, industrial culture, and education. It successfully attracted people and became one of the most popular recreational activities. In 2008, the government stipulated that all tourism factories should have a “mascot design” as an evaluation item, which required the dedicated spokes-characters.
This study would propose how consumers’ cognition of spokes-characters to affect the relationship of brand image, travel attraction, and travel willingness. The main subjects are the general consumers and apply the purposive sampling, through Google online questionnaires for surveying. From May 11 to May 18, 2018, 430 valid questionnaires had been collected for data analysis. The results show that consumers’ cognition of spokes-characters positively affects brand image and travel attraction. The brand image of tourism factories and travel attraction positively affect consumers’ travel willingness.
People who in this field can take advantage of their own story spokes-characters for marketing. Apply the images in their official websites , increase credibility and interaction, comp official Line stickers, and join the city marketing to enhance the brand image and travel attraction ,and increase travel willingness of tourism as well.
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CHEN, TING-YING, and 陳亭穎. "Use KJ Method to Analyze the Vision Description of Animated Character’s Kansei Image － Take “Dragon Captor” for Example." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/3brgp7.
Full textAbstract:
碩士<br>國立臺南大學<br>動畫媒體設計研究所<br>104<br>Character design is based on the description of the story script, character designer according to the description of the story script and his or her experience to design animation character’s vision. In this research, we use KJ method to collect and analyze the Kansei image of the audiences, when they saw a character design image. The conclusion of this research could be a reference for animation character designer. We take six major animation characters of“Rise of the Guardians” for example, use KJ method to analyze audiences’ Kansei image, this research has four steps：The vision description of Kansei image, extend the vision description of Kansei image, the description layers and the description groups. The result of this research, when audiences describe his or her Kansei image of the characters, they usually describe the Kansei image of the character’s whole modeling in the first, then describe the character’s pose or expression, and describe the character’s detail in the end. In summary, when character designer change the description to the character image, they must follow this design sequence, and the audiences would know what you want to deliver clearly. The Kansei image of vision could help designer create the character. The result of this research will be applied to create the character of “Dragon Captor”.
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Lin, Wen Nan, and 林文男. "A discussion about story structures and image signs in Science Fiction animated movies- Focusing on Oshii Mamoru’s works-." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/4e563x.
Full textAbstract:
碩士<br>淡江大學<br>日本語文學系碩士班<br>105<br>This paper aims to explore the composition of science fiction realistic film, character character set, the movie quoted the myth of the narrative way, as well as Oshii mamoru director approach and mode to be investigated. The first half of the study contains the first part, Oshii Mamoru and Hollywood science fiction film mutual influence relationship to mythology and mythology and Jungian psychology of the prototype analysis to analyze its composition and role setting. The second part includes the philosophical language quoted by Oshii and the analysis of verbal and non-verbal signs in the myth, so as to explain the meaning of the possible representations and the things the director wants to express. in the first chapter Oshii momoru director really by the Hollywood film, Rayleigh Scott''s director of the "Blade Runner" of the impact, and its leading work "Ghost in the Shell" also indirectly affected The Visual Expression of Hollywood Movie "MATRIX " and Philosophical Thinking. In this regard, Oshii momoru Director is really different from other Japanese animation masters of thinking, and even observed different from other people''s characteristics and the nature of the subject.
The second chapter and the third chapter, respectively, "Ghost in the Shell" and "innocence" to " Heroes Journey " to analyze the stage of the story of the order of development and the role of Propp folk tale analysis, and then understand the role of interaction and role of function and positioning of the analysis process, the sampling of the two works of the philosophical nature, Oshii mamoru director chose the " Mentor " in the archetypal "Mythological Law" to lead the protagonist, and to tell the core values of the whole work. values, to give viewers different and alternative thinking.
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Drahotová, Klára. "Sémiotická analýza animované reklamy." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-335946.
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The presented thesis will examine tools of animated commercials on the basis of semiotic analysis of TV advertising. The animation is usually connected whit children's or family movies, however it is also extensively used in commercials, which are designed to affect adult audiences. The goal of the thesis was to find, how animated commercial attracts customers and how it differs from played ad. Therefore the underlying hypothesis is that animation is not just for children, but it may just as well successfully work in production for adults. The thesis is also based on the assumption that animated advertising uses other tools to capture the viewer than advertising played. The theoretical part is focused on presenting animation, its development, specifics and methods of analysis. Also it is focused on semiotic and practical side of advertisement and visual sings of image. In the practical part I will compare selected animated and played ads. My effort will be to describe tools of animation in commercials and to discover how they differ from played ads. Key words: semiotic in advertising, advertising, TV advertisening, animated ad, animation, semiotic analysis, encoding, denotation, connotation, image
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Knowles, Alison Michelle. "The cyborg-other : Japan’s animated images of sex, gender, and race." Thesis, 2000. http://hdl.handle.net/2429/12354.
Full textAbstract:
Using a semiotic reading of gender codes and Donna Haraway's cyborg theory, this paper is a study of the image of the cyborg through Japanese animated films and by extension a study of Japan through the cyborg. In such animated films as "Ghost in the Shell"
(Oshii Mamoru, 1995), "Battle Angel" (Fukutomi Hiroshi, 1993), and "Neon Genesis Evangelion" (Anno Hideaki, 1996) the cyborg characters present new images of a hybrid cyborg-sexuality, cyborg-gender, and cyborg-race. The cyborg is a being in science fiction, as well as in cutting-edge science and technology, that is a combination of organic and cybernetic. The cyborg destroys the boundary between human and machine, by its very definition, and
other boundaries by its use and interpretation. Japan has many images of the cyborg and metal-merged bodies in animated films and comic books. Japanese animated films and comic books show the cyborg's hybridity, as theorized by Haraway and others, in regards to sex, gender, and race. Using the cyborg image as a reflection
of Japan, Japan shows hybridity in the same areas.
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Lok, Chi-Leong, and 陸志良. "A Study on the Super Resolution Technique for Animated Images via Deep Convolutional Networks." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/n3y3rx.
Full textAbstract:
碩士<br>國立臺灣科技大學<br>資訊工程系<br>107<br>Recent research on super resolution has progressed with the development of deep convolutional neural networks (DCNNs). Despite the use of faster and deeper convolutional neural networks, breakthroughs have been made in the accuracy and speed of single image super resolution. On the other hand, how do we restore finer texture details? However, we have artifacts appearing in the large upscale image of super resolution. In order to further improve the visual quality and the optimized super resolution method, the goal is mainly achieved by the selection of the loss function. In this thesis, we have developed a deep residual network that can reuse the previous feature maps. Our purposed model is constructed by the combination of two architectures, ResNet and DenseNet. We can adjust the size of the training image and the batch size during the training. According to this, we can elaborate on them that affect the performance of the deep residual network, say PSNR. Benefiting from these improvements, our deep residual network is able to recover photo-realistic textures from multiple downsampled images in benchmarks, which outperforms the methods such as SRCNN, VDSR, LapSRN, and SRResNet. The experimental results reveal that our developed deep residual network is also better than the NTIRE2017 champion winner EDSR does.
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Tseng, Yi-Chu, and 曾奕築. "Who Is the “Villain”? An Analysis of the Images of Villains in Disney''s Animated Films, 1989-2004." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/67880393003833530788.
Full textAbstract:
碩士<br>淡江大學<br>大眾傳播學系碩士班<br>93<br>In Disney characters, the distinction between good and evil, proper and improper behavior, is always clear in the character’s actions. And characters narrate the values and myths dear to the producer, representing the producer’s preferred values and themes to the audience. Because of understanding Disney animation helps clarify the intimate relationship between ideology and socio-economic practice, this research was designed to examine images about villains portrayed in Disney animated classics and treats Disney villains as reflections of social fears and anxieties.
The research discloses that Disney plays a key part in propagating deviant images of villains, and reveals that Disney’s dream world of individual heroes and princesses rests on cultural privilege and social inequality. Although villains of Disney are presented in the transgressive, sexual, crazy, ugly and fringe images, and these are Disney’s measures for the sake of consolidating hero’s status, but such images still give villains power outside the Disney hero’s order.
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Luca, Ruxandra Monica. "Behavioural Analysis of Zebrafish: Shoaling and Fear Responses." Thesis, 2009. http://hdl.handle.net/1807/18823.
Full textAbstract:
Zebrafish, a novel vertebrate model organism, has a high nucleotide sequence homology with human genes. Its transparent and fast developing embryo allows the analysis of physiological and anatomical characteristics, many of which are similar to those of mammals. Although the prolific nature of zebrafish can facilitate genetic studies, linking genes and behaviour is difficult because behaviour is not well investigated in zebrafish. The aim of this project is to develop robust behavioural tests that can quantify shoaling with conspecifics and fear responses to natural predators. Eight conditions using different computer-animated stimuli were used to induce behavioural responses. The results demonstrate that shoaling behaviours and fear responses can be successfully induced. More importantly, the behaviours caused by the computer-animated images confirm previous research findings using natural conspecifics and predators. Thus, computer-animated images will help standardize behavioural tests in zebrafish and will lead the way to more sophisticated and better controlled experiments.