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Kambs, Jill Elise. "32% of the archive." Thesis, University of Iowa, 2011. https://ir.uiowa.edu/etd/995.
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32% of the Archive explores memory, loss, and the power of ephemera through recording and re-presenting objects from a personal archive. Through uniform recording, framing, and treatment of the art objects, 32% of the Archive, attempts to neutrally display personal objects so the audience can objectively investigate the material. The gesture falls short of impartial, though, for the specificity of the subject and the enormity of the act carries an emotional charge. Beyond presenting data, this work reflects a sincere effort to remember and preserve, to puzzle and piece together, to pay homage to what is lost in the transience of life. These re-presentations recall the concept of the indexical image. It is not the thing itself but the trace of the thing. It is not the moment itself but the conjured memory of the moment and the place and the people who inhabited it. Struggling to find the appropriate distance from these personal objects reflects the ambivalence of love, loss, and memory. But this is the true power of the photograph--to preserve and keep present that which is ephemeral.
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Fulton, John R. "Sensor orientation in image sequence analysis /." Connect to thesis, 2007. http://eprints.unimelb.edu.au/archive/00003510.
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Abboud, Feriel. "Restoration super-resolution of image sequences : application to TV archive documents." Thesis, Paris Est, 2017. http://www.theses.fr/2017PESC1038/document.
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Au cours du dernier siècle, le volume de vidéos stockées chez des organismes tel que l'Institut National de l'Audiovisuel a connu un grand accroissement. Ces organismes ont pour mission de préserver et de promouvoir ces contenus, car, au-delà de leur importance culturelle, ces derniers ont une vraie valeur commerciale grâce à leur exploitation par divers médias. Cependant, la qualité visuelle des vidéos est souvent moindre comparée à celles acquises par les récents modèles de caméras. Ainsi, le but de cette thèse est de développer de nouvelles méthodes de restauration de séquences vidéo provenant des archives de télévision française, grâce à de récentes techniques d'optimisation. La plupart des problèmes de restauration peuvent être résolus en les formulant comme des problèmes d'optimisation, qui font intervenir plusieurs fonctions convexes mais non-nécessairement différentiables. Pour ce type de problèmes, on a souvent recourt à un outil efficace appelé opérateur proximal. Le calcul de l'opérateur proximal d'une fonction se fait de façon explicite quand cette dernière est simple. Par contre, quand elle est plus complexe ou fait intervenir des opérateurs linéaires, le calcul de l'opérateur proximal devient plus compliqué et se fait généralement à l'aide d'algorithmes itératifs. Une première contribution de cette thèse consiste à calculer l'opérateur proximal d'une somme de plusieurs fonctions convexes composées avec des opérateurs linéaires. Nous proposons un nouvel algorithme d'optimisation de type primal-dual, que nous avons nommé Algorithme Explicite-Implicite Dual par Blocs. L'algorithme proposé permet de ne mettre à jour qu'un sous-ensemble de blocs choisi selon une règle déterministe acyclique. Des résultats de convergence ont été établis pour les deux suites primales et duales de notre algorithme. Nous avons appliqué notre algorithme au problème de déconvolution et désentrelacement de séquences vidéo. Pour cela, nous avons modélisé notre problème sous la forme d'un problème d'optimisation dont la solution est obtenue à l'aide de l'algorithme explicite-implicite dual par blocs. Dans la deuxième partie de cette thèse, nous nous sommes intéressés au développement d'une version asynchrone de notre l'algorithme explicite-implicite dual par blocs. Dans cette nouvelle extension, chaque fonction est considérée comme locale et rattachée à une unité de calcul. Ces unités de calcul traitent les fonctions de façon indépendante les unes des autres. Afin d'obtenir une solution de consensus, il est nécessaire d'établir une stratégie de communication efficace. Un point crucial dans le développement d'un tel algorithme est le choix de la fréquence et du volume de données à échanger entre les unités de calcul, dans le but de préserver de bonnes performances d'accélération. Nous avons évalué numériquement notre algorithme distribué sur un problème de débruitage de séquences vidéo. Les images composant la vidéo sont partitionnées de façon équitable, puis chaque processeur exécute une instance de l'algorithme de façon asynchrone et communique avec les processeurs voisins. Finalement, nous nous sommes intéressés au problème de déconvolution aveugle, qui vise à estimer le noyau de convolution et la séquence originale à partir de la séquence dégradée observée. Nous avons proposé une nouvelle méthode basée sur la formulation d'un problème non-convexe, résolu par un algorithme itératif qui alterne entre l'estimation de la séquence originale et l'identification du noyau. Notre méthode a la particularité de pouvoir intégrer divers types de fonctions de régularisations avec des propriétés mathématiques différentes. Nous avons réalisé des simulations sur des séquences synthétiques et réelles, avec différents noyaux de convolution. La flexibilité de notre approche nous a permis de réaliser des comparaisons entre plusieurs fonctions de régularisation convexes et non-convexes, en terme de qualité d'estimation<br>The last century has witnessed an explosion in the amount of video data stored with holders such as the National Audiovisual Institute whose mission is to preserve and promote the content of French broadcast programs. The cultural impact of these records, their value is increased due to commercial reexploitation through recent visual media. However, the perceived quality of the old data fails to satisfy the current public demand. The purpose of this thesis is to propose new methods for restoring video sequences supplied from television archive documents, using modern optimization techniques with proven convergence properties. In a large number of restoration issues, the underlying optimization problem is made up with several functions which might be convex and non-necessarily smooth. In such instance, the proximity operator, a fundamental concept in convex analysis, appears as the most appropriate tool. These functions may also involve arbitrary linear operators that need to be inverted in a number of optimization algorithms. In this spirit, we developed a new primal-dual algorithm for computing non-explicit proximity operators based on forward-backward iterations. The proposed algorithm is accelerated thanks to the introduction of a preconditioning strategy and a block-coordinate approach in which at each iteration, only a "block" of data is selected and processed according to a quasi-cyclic rule. This approach is well suited to large-scale problems since it reduces the memory requirements and accelerates the convergence speed, as illustrated by some experiments in deconvolution and deinterlacing of video sequences. Afterwards, a close attention is paid to the study of distributed algorithms on both theoretical and practical viewpoints. We proposed an asynchronous extension of the dual forward-backward algorithm, that can be efficiently implemented on a multi-cores architecture. In our distributed scheme, the primal and dual variables are considered as private and spread over multiple computing units, that operate independently one from another. Nevertheless, communication between these units following a predefined strategy is required in order to ensure the convergence toward a consensus solution. We also address in this thesis the problem of blind video deconvolution that consists in inferring from an input degraded video sequence, both the blur filter and a sharp video sequence. Hence, a solution can be reached by resorting to nonconvex optimization methods that estimate alternatively the unknown video and the unknown kernel. In this context, we proposed a new blind deconvolution method that allows us to implement numerous convex and nonconvex regularization strategies, which are widely employed in signal and image processing
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Deb, Sagarmay. "Content-based image retrieval based on emergence index." University of Southern Queensland, Faculty of Sciences, 2003. http://eprints.usq.edu.au/archive/00001420/.
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Emergence is a phenomenon where we study the implicit or hidden meaning of an image. We introduce this concept in image database access and retrieval of images using his as an index for retrieval. This would give an entirely different search outcome than ordinary search where emergence is not considered, as consideration of hidden meanings could change the index of search. A feature of an image, which is not explicit would be emergent feature if it can be made explicit. There are three types of emergence: computational emergence, thermodynamic emergence and emergence relative to a model. In computational emergence, it is assumed computational interactions can generate different features or behaviors. This is one of the approaches in the field of artificial life. Thermodynamic emergence is of the view that new stable features or behaviors can arise from equilibrium through the use of thermodynamic theory. In emergence relative to a model, deviation of the behavior from the original model gives rise to emergence. We would use this latter view in our work. Two classes of shape emergence have been identified: embedded shape emergence and illusory shape emergence. In embedded shape emergence all the emergent shapes can be identified by set theory procedures on the original shape under consideration. For example, in a set S= {a,b,c,d,e}, we can find subsets like S1={a,b,c}, S2={c,d,e}, S3={a,c,e} and so on. But in illusory shape emergence, where contours defining a shape are perceived even though no contours are physically present, this kind of set theory procedures are not enough and more effective procedures have to be applied to find these hidden shapes. These procedures could be based on geometrical, topological or dimensional studies of the original shape. Content-based Image Retrieval (CBIR) techniques, so far developed, concentrated on only explicit meanings of an image. But more meanings could be extracted when we consider the implicit meanings of the same image. To find out the implicit meanings, we first destroy the shape of the original image which gives rise to unstructured image. Then we process the unstructured image to bring out the new emergent image. We discuss emergence, calculation of emergence index and accessing multimedia databases using emergence index in this dissertation. To calculate emergence index in the access of multimedia databases, we take an input image and study the emergence phenomenon of it. Also we study the emergence phenomenon of the images of the database. Both input image and images of database would give rise to more meanings because of emergence as we explained earlier. Based on the new meanings, wherever there would be a match between input image and images of database, we would pick that record up for selection. We defined emergence index as EI = f(D,F,V,C,E) where D stands for domain of the database, F for features of the image, V for various variables that define the image, C for constraints which represent the image and E for emergence phenomenon. We calculate these five variables to get emergence index for each image of the database. Also we calculate these five variables for input image as well. We talk about global aspects of features. It means features of the entire image. Examples are area, perimeter or rectangles, triangles. In some searches, to consider the global features could be advantageous in that a symmetry with the input image could be obtained on the basis of global features only. But as is clearly the case, to consider global features could overlook the individual objects that constitute the image as a whole. In the kind of searches we propose, we take into account the global features of the image of the database while considering in detail local features. Various objects that lie within an image constitute local features. In our example, there are three objects in the image, namely, a lake and two houses. Studying the features of these three objects would add to studying the features of the image globally. We took the example of a geographic location in the thesis and then showed how destruction of original image is done and further processing of the unstructured image gives new emergent image. Partial implementation of this concept is also presented at the end. In implementation, we consider the retrieval of image globally. We do not consider break-up of image into multiple objects which is left for future research.
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Webb, Clare L. "An investigation into the design and implementation of a digital image archive." Thesis, University of Westminster, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.434415.
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Sadedin, Ann. "The uncentred self : image and awareness in the Middle English religious lyrics /." Connect to thesis, 1995. http://eprints.unimelb.edu.au/archive/00000220.
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Clements, J. M. "Adapted orphans and protected histories : time based media and the moving image archive." Thesis, University of Salford, 2014. http://usir.salford.ac.uk/32981/.
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Through the examination of archived moving images, this practice-based research project explores processes and methodologies adopted by visual artists who use moving image archives as an integral component for the creation of new artworks. Underlying these methods of production are issues of originality, authorship and ownership. The research seeks to examine the role of archives as potential catalysts for the creation of new work and the role artists can play in animating collections thereby generating new meanings for archival materials. Central to the research is the study of traditional moving image archives, taxonomies, classifications and content alongside the more recent emergence of online digital archives. The creative outputs (artworks) comprise an exploration of how this virtual environment has the potential for artists to re-appropriate archival materials and how films housed in traditional moving image archives can respond to the challenge set by these new platforms. New collaborations between the artist-researcher and nine regional film archives test creative methodologies for creating artworks by re-presenting archival collections through a multi-disciplinary approach. The final artworks have been produced as a direct response to the contrast in accessibility of online works, freely available under the Creative Commons license, and the legal constraints placed on publicly funded archives (and archivists) who are nonetheless dedicated to making archives available to a wider audience and who have had a significant input into this research.
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Crombie, Isobel. "Body culture : Max Dupain and the social recreation of the body, c.1919-1939 /." Connect to thesis, 1999. http://eprints.unimelb.edu.au/archive/00000424.
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Poos, Francoise. "The making of a national audio-visual archive : the CNA and the 'Hidden Images' exhibition." Thesis, De Montfort University, 2016. http://hdl.handle.net/2086/12429.
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This thesis explores the agency and practices of visual material in the construction of collective memory and national identity. It is grounded in the case study of one particular institution, the Centre national de l’audiovisuel (CNA) in Luxembourg, and in the institutional life and transformations of a specific body of images, Luxembourg’s Amateur Film Collection and the exhibition Hidden Images mounted in 2007. The CNA is Luxembourg’s central repository for film, photography and sound documents brought together under the rubric of ‘national heritage’. The amateur film archive comprises today about 10.000 objects from the 1920s to the mid 1970s. Made in Luxembourg or by people from Luxembourg, the movies, and even more so the film stills as a condensed version of the archive, represent the nation, yet as an ensemble they remain contained, making a close examination possible. I consider in this context that images are not however only indexical referents, but also, and especially, bundled objects existing materially in the world, entangled in a complex tissue of social interactions and practices, tensioned between document and art work and interwoven with shifting institutional aspirations. Drawing on the work of Ingold, I characterize this as a meshwork, in which everything is connected and visual objects evolve organically, subject to internal and external influences. Thus, this thesis observes the private family films as they meet and mesh with the public institution CNA where they develop new agency as historical documents, as works of art or triggers of collective memory. It explores the filmed material in relation to the national and institutional politics of the CNA’s emergence, the shifting culture of curatorial intention and ambition for the collection, the hierarchies of information within CNA. By making visible the lines, the connections and the nodes of this meshwork, as well as its patterns of disruption and fracture, this study highlights the varying interactions with Luxembourg’s Amateur Film Collection in particular, and, more generally, the performative nature of family photographs and films as they are used to construct images of nationality. The small scale of Luxembourg as a nation-state presents a demonstrable case study of the ecology of images in national identity building and makes an unusually grounded contribution to the wider debate about the ways in which images strengthen a sense of belonging, and how archives and museums use photography and film to construct and articulate visions of nationhood.
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Lévêque, Cyrielle. "Artification de l’archive : une dialectique entre figures et absences." Thesis, Université de Lorraine, 2018. http://www.theses.fr/2018LORR0334.
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L’élaboration de ce travail de thèse s’inscrit dans une démarche universitaire, elle est également pensée de manière simultanée avec la création artistique. Elle s’oriente vers des questionnements liés à une quête personnelle, intime, mais également « traquée » dans une voie plus large qui est celle de la généalogie, de la photographie de famille, de l’image documentaire et des zones d’ombres qui font partie de toute histoire personnelle. Des mécanismes de résistance à l’artification se déploient comme tentative de réponse artistique et de recherche, face à une histoire mutique, un manque de paroles. L’histoire familiale est source de filiations plurielles, de transmissions – verbales ou non –, mais aussi de secrets. Certains vides apparaissent parfois dans des portraits où l’élément absent, par l’insistance de son manque dans la logique du récit, devient obsédant. La spécificité pour les artistes qui s’attachent à ces corpus consiste à collecter, s’approprier et exposer ces images troubles pour les réinvestir dans un circuit artistique, volubile et efficace. Ces nouvelles images, définies comme histoires intimes mais aussi comme un art du témoignage, se transforment alors en une mémoire collective : par un habile téléscopage de sens, l’oeuvre ainsi née de l’image vernaculaire fait irruption par sa plasticité et offre un sens nouveau à la figure effacée ou absente. Cette réflexion théorique et artistique, entreprise sur les relations polysémiques entre photographie documentaire et poïétique de l’effacement, analyse la manière dont l’art agit au coeur des images d’archives. Qu’est-ce qui de l’art– par ses méthodes, ses dispositifs de mise en oeuvre, son inscription sociale et historique–se trouve activé qui permette ainsi de « lire » une image qui refusait de se donner. Réciproquement, quels leviers sont élaborés par les artistes, pour mettre à jour des images qui ne leur appartiennent pas et qui viennent bouleverser notre rapport à l’information initiale ? C’est là tout l’enjeu de cette recherche théorique et plastique qui permet de saisir une mécanique d’artification des images d’archives, à mi-chemin de l’histoire intime et de la mythologie artistique ; ou comment du récit en creux surgissent des images, figures vacillantes entre présence et absence, archives d’un devenir reformulé<br>The development of this thesis work falls within an academic approach, andis also simultaneously thought in connection with the artistic creation. It deals with personal and private questioning, but is also « hunted » in a different way regarding yet genealogy, family and documentary pictures and the shadow zones that are part of all personal history. Mechanisms of resistance to arti- fication are deployed as an attempt at an artistic and theoretical response, facing a mute story, a lack of words. The family history is the origin of plural filiations, transmissions–with or without words–but also secrets. Sometimes some empty spaces appear on portraits. The missing element, thus, becomes an obsession due to its lack in the logic of the story. The artists working on those corpuses specifically aim to collect, reclaim and exhibit those blurred pictures in order to re-use them into an artistic, voluble and efficient circuit. These new pictures–private stories and testimony art at once–turn into a collective memory : by a clever telescope of meaning, the work, born out of the vernacular image, breaks through thanks to its plasticity, and offers a new meaning to the erased or absent figure. This theoretical and artistic reflection, based on the polysemous relations between documentary pictures and « erasing poietic », analyses the way that art acts into old archive pictures. How can art give the power to « read » a picture that is invisible ? Which ways, implemented devices, social and histo- ric beliefs allow it ? Conversely, what levers are developed by the artists, to update images that do not belong to them and that change our vision of the initial information ? Here is the challenge of this theoretical and plastic research that let us understand a mechanism of the artifying archival image, midway between private story and artistic mythology ; or how can images or vacilla- ting figures between presence and absence appear from invisible elements, as archives of a reformulated future
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Eicher, Anton. "Active Shape Model Segmentation of Brain Structures in MR Images of Subjects with Fetal Alcohol Spectrum Disorder." Thesis, University of Cape Town, 2010. http://pubs.cs.uct.ac.za/archive/00000637/.
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Fetal Alcohol Spectrum Disorder (FASD) is the most common form of preventable mental retardation worldwide. This condition affects children whose mothers excessively consume alcohol whilst pregnant. FASD can be identied by physical and mental defects, such as stunted growth, facial deformities, cognitive impairment, and behavioural abnormalities. Magnetic Resonance Imaging provides a non-invasive means to study the neural correlates of FASD. One such approach aims to detect brain abnormalities through an assessment of volume and shape of sub-cortical structures on high-resolution MR images. Two brain structures of interest are the Caudate Nucleus and Hippocampus. Manual segmentation of these structures is time-consuming and subjective. We therefore present a method for automatically segmenting the Caudate Nucleus and Hippocampus from high-resolution MR images captured as part of an ongoing study into the neural correlates of FASD.
Our method incorporates an Active Shape Model (ASM), which is used to learn shape variation from manually segmented training data. A discrete Geometrically Deformable Model (GDM) is rst deformed to t the relevant structure in each training set. The vertices belonging to each GDM are then used as 3D landmark points - effectively generating point correspondence between training models. An ASM is then created from the landmark points. This ASM is only able to deform to t structures with similar shape to those found in the training data. There are many variations of the standard ASM technique - each suited to the segmentation of data with particular characteristics. Experiments were conducted on the image search phase of ASM segmentation, in order to find the technique best suited to segmentation of the research data. Various popular image search techniques were tested, including an edge detection method and a method based on grey prole Mahalanobis distance measurement.
A heuristic image search method, especially designed to target Caudate Nuclei and Hippocampi, was also developed and tested. This method was extended to include multisampling of voxel proles. ASM segmentation quality was evaluated according to various quantitative metrics, including: overlap, false positives, false negatives, mean squared distance and Hausdorff distance.
Results show that ASMs that use the heuristic image search technique, without multisampling, produce the most accurate segmentations. Mean overlap for segmentation of the various target structures ranged from 0.76 to 0.82. Mean squared distance ranged from 0.72 to 0.76 - indicating sub-1mm accuracy, on average. Mean Hausdorff distance ranged from 2:7mm to 3:1mm.
An ASM constructed using our heuristic technique will enable researchers to quickly, reliably, and automatically segment test data for use in the FASD study - thereby facilitating a better understanding of the eects of this unfortunate condition.
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Olini, Polyana. "Noodramatização do currículo : arquiarquivo do Projeto Escrileituras." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/163815.
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Esta tese realiza uma noodramatização das imagens do currículo do Projeto Escrileituras: um modo de ler-escrever em meio à vida. Projeto integrante do Programa Observatório da Educação CAPES/INEP, desenvolvido entre 2011 e 2014, em quatro núcleos de instituições públicas de ensino superior — UFRGS, UFPel, UFMT, UNIOESTE —, sob a coordenação da Faculdade de Educação/UFRGS. Questiona, analisa e recria imagens vivificadas em currículo, mediante movimentos de pesquisa marcados pelo Método de Dramatização de Deleuze. Faz desse método um ponto de partida para demonstrar – junto a Corazza, Derrida e Haroldo de Campos — a existência de um drama nos gestos tradutores do currículo. Ao mostrar suas máscaras e devires, reformula imagens curriculares, numa composição em três planos: documental, procedimental e dramático-noológico. Assim, após receber o currículo do Escrileituras como uma herança, aberta à criação do novo, realiza a sua transcriação em um arquiarquivo, comprometido com a leitura, com a escrita e com o porvir.<br>This Thesis carries out an noodramatization of the curriculum’s images from project Writreadings: a way of reading-writing amidst life. This Project is a integral part of Programa Observatório da Educação CAPES/INEP, developed between 2011-2014, in four nuclei of public higher education institutions – UFRGS, UFPel, UFMT, UNIOESTE –, performed under the coordination of Education Faculty/UFRGS. It question, analyze and rebuild image vivified in curriculum, through movements of research marked by Method of Dramatization by Deleuze. It makes this method a starting point for demonstrating – with Corazza, Derrida and Haroldo de Campos – the existence of a drama in the translate gestures of the curriculum. When it shows its masks and becomings, it reformulates curricular images in a composition of three planes: documentary, procedural and dramaticnoologyc. Therefore, after receiving the Writreadings curriculum as an heritage, open to the creation of the new, it transcribes in an arche-archive, compromised with the reading, with the writing and with the future.
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Pereira, Monica Barth. "Texto: processos e desdobramentos da imagem na catalogação de um arquivo." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-04082017-102157/.
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A dissertação aborda a questão da ressignificação de manuscritos e textos de arquivo levando a catalogação e deciframento de conteúdos para o campo do texto enquanto imagem. Apresento o desenvolvimento das etapas a partir de trabalho sobre manuscritos que conduziram à atual ressignificação e elaboração de novas imagens. Destaco o relevante papel da rasura. Em suas diferentes apresentações, significado e função é presença constante em meus trabalhos.<br>The dissertation approaches the subject of providing (re) significations to manuscripts and texts from an archive leading to the cataloging and deciphering of contents from the standpoint of texts taken as image. I am tabling a document that shows the development of the various phases of this work on manuscripts. They give rise to those new significations and new pieces of work coming from these results. The use of the erasure should be underlined. In various forms of presentation, meaning and function the erasure is a constant presence along my body of work.
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Odo, David. "The edge of the field of vision : defining Japaneseness and the image archive of the Ogasawara Islands." Thesis, University of Oxford, 2004. http://ora.ox.ac.uk/objects/uuid:f76fb540-7b9a-4e96-989c-2492576d7d6f.
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This thesis examines the image archive of photographs of the Ogasawara (Bonin) Islands of Japan within the framework of historically informed visual anthropology. It is argued that investigating the photography of Ogasawara, which has an ethnically diverse population of descendants of the pre-Japanese, nineteenth-century settlement, exposes the processes that have configured modern 'Japaneseness'. Towards this end, the major areas explored are early Japanese photographic practice, visual aspects of Japanese colonialism, Japanese domestic tourism and the use of photography in the creation and maintenance of ideas about Japanese culture. Extremely rare imperial, government and commercial images, including albumen prints, cartes de visite and postcards, from museums, archives and private collections are examined in this study. The trajectories of these images through the 'visual economy' are traced as they are produced, circulated and gather meanings in a variety of contexts, from early colonial encounters to contemporary tourist engagements. These processes are exposed through an investigation of early Japanese photographic practice, colonial expeditions to Ogasawara, the shifting location of Islanders as 'slippery' internal others within configurations of Japaneseness, Japanese domestic tourism and the tourist discourse in contemporary Ogasawara. This has enabled the development of an alternative history of early Japanese photographic practice and a new understanding of Japanese domestic tourism. These new ways of conceptualising photography and tourism in Japan, together with insights gained from ethnographic investigations of the Ogasawaran image archive, demonstrate that photography played a major role in the construction of modern Japaneseness, rather than merely being a by-product of modernisation. Through an examination of images from the archive of photographs of the Ogasawara Islands, one gains an understanding of modern Japan as a society more diverse than the mostly homogeneous nation it is generally represented as, and more fluid in its definitions of Japaneseness than previously thought.
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Perkins, Simon. "Identification and Reconstruction of Bullets from Multiple X-Rays." Thesis, University of Cape Town, 2004. http://pubs.cs.uct.ac.za/archive/00000136/.
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The 3D shape and position of objects inside the human body are commonly detected using Computed Tomography (CT) scanning. CT is an expensive diagnostic option in economically disadvantaged areas and the radiation dose experienced by the patient is significant.
In this dissertation, we present a technique for reconstructing the 3D shape and position of bullets from multiple X-rays. This technique makes us of ubiquitous X-ray equipment and a small number of X-rays to reduce the radiation dose. Our work relies on Image Segmentation and Volume Reconstruction techniques.
We present a method for segmenting bullets out of X-rays, based on their signature in intensity profiles. This signature takes the form of a distinct plateau which we model with a number of parameters. This model is used to identify horizontal and vertical line segments within an X-Ray corresponding to a bullet signature. Regions containing confluences of these line segments are selected as bullet candidates. The actual bullet is thresholded out of the region based on a range of intensities occupied by the intensity profiles that contributed to the region.
A simple Volume Reconstruction algorithm is implemented that back-projects the silhouettes of bullets obtained from our segmentation technique. This algorithm operates on a 3D voxel volume represented as an octree. The reconstruction is reduced to the 2D case by reconstructing a slice of the voxel volume at a time.
We achieve good results for our segmentation algorithm. When compared with a manual segmentation, our algorithm matches 90% of the bullet pixels in nine of the twelve test X-rays. Our reconstruction algorithm produces an acceptable results: It achieves a 70% match for a test case where we compare a simulated bullet with a reconstructed bullet.
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Scott, Lisa Anne. "Effects of exercise and a brief education intervention on social physique anxiety in college students." Click here to access thesis, 2005. http://www.georgiasouthern.edu/etd/archive/Spring2005/lscott13/scott_lisa_a_200502.ms.pdf.
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Thesis (M.S.)--Georgia Southern University, 2005.<br>"A thesis submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Master of Science with an emphasis in Kinesiology" ETD. Includes bibliographical references (p. 27-30) and appendices.
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Bonizzi, Valentina. "Cartographers : a practice based investigation on memory, conflict and the aerial image." Thesis, University of Dundee, 2016. https://discovery.dundee.ac.uk/en/studentTheses/eb89f1c5-fe9c-4250-a7d6-d74fe235e67a.
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The power of the relationship between the photographic apparatus and migration is situated at a metaphorical crosslink between the two-dimensional outcome of marking borders on a map, or printing an image on a flat surface, and the time that affects the events that shape the very heart of that crosslink. The rigidity of borders, and sometimes their false ideas of flexibility can be seen on how recently Europe has proved (again) that ‘open boundaries’ is a non specific inclusive idea. The experience of migrants going through conflict situations is representative of the relationship between the ‘having to deal with’ the happenings, in most cases forced, and at the same time changing, transforming the landscape, leaving or bringing old and new values. Therefore the democratic power in this work is intended as the collective recognition of the importance of simple acts of looking, bringing values to the transformative nature of human beings. Because of its mechanical nature and the stillness of the images it produces, photography has the capacity to show transformation, with the quality of its materiality, which continuously challenges the users of photography in accessing different formats, since its invention. In the context of this work (Cartographers), photography becomes an inspiration for the concept, planning and making of the film process. Film can embrace elements that photography doesn’t have, like sound and duration, added to landscape and to portraits. These elements may help the viewer to understand a narrative that grows from a single trunk, the film, whose roots are holding onto the lightness of the sky instead of the thickness of the ground by representing, filmically, the expressions of the people who speak about their experiences. The ‘democratization of cartography’ – is in this written text considered as a shift of attention from the act of cartography to who makes it, the cartographers. Therefore map-making does not function as a merely two-dimensional outcome but as a nuance of an experience that is individual and collective. Cartographers reveals a map visible through the memory of a community of people who originate from the same place and have lived the same conflict (WWII) while being scattered across several different countries (Italy, France, Scotland). The work Cartographers, a film and series of archival aerial image, makes available the maps of these happenings, which memories are pulled together and suggest a reflection towards a democratic act of cartography making. The aim of this research is opposite to the creation of a cartography newly created by joining points from different journeys, experiences or concepts: in this work as the director of the film I have attempted to make emerge that the cartographers are aware of each other, their map is drawn collectively and everyday, and it does not join different points, but it starts from a single one and it explodes in different directions. The exploration of this work and research was made by attempting to represent what can be felt with the connection they have with the starting point. This is not only a process that looks at a certain community but is a dialogue with the memory of that community of cartographers which aids the understanding of the landscape that we traverse in our daily lives. With their memories, the subjects of the interviews - which I refer to as the Cartographers - leave a transparent but permanent trace that remains fixed in the landscape and makes it what it is today. The role of the artist in this case, is not the one of the ‘creator’ of a certain map, but the one that wipes the dust about to reveal the map of the treasure, and finds a way to show to the public, that the suspended moment of revelation, is the treasure itself.
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Spasic, Nemanja. "Anomaly Detection and Prediction of Human Actions in a Video Surveillance Environment." Thesis, University of Cape Town, 2007. http://pubs.cs.uct.ac.za/archive/00000449/.
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World wide focus has over the years been shifting towards security issues, not in least due to recent world wide terrorist activities. Several researchers have proposed state of the art surveillance systems to help with some of the security issues with varying success. Recent studies have suggested that the ability of these surveillance systems to learn common environmental behaviour patterns as wells as to detect and predict unusual, or anomalous, activities based on those learnt patterns are possible improvements to those systems. In addition, some of these surveillance systems are still run by human operators, who are prone to mistakes and may need some help from the surveillance systems themselves in detection of anomalous activities. This dissertation attempts to address these suggestions by combining the fields of Image Understanding and Artificial Intelligence, specifically Bayesian Networks, to develop a prototype video surveillance system that can learn common environmental behaviour patterns, thus being able to detect and predict anomalous activity in the environment based on those learnt patterns. In addition, this dissertation aims to show how the prototype system can adapt to these anomalous behaviours and integrate them into its common patterns over a prolonged occurrence period. The prototype video surveillance system showed good performance and ability to detect, predict and integrate anomalous activity in the evaluation tests that were performed using a volunteer in an experimental indoor environment. In addition, the prototype system performed quite well on the PETS 2002 dataset 1, which it was not designed for. The evaluation procedure used some of the evaluation metrics commonly used on the PETS datasets. Hence, the prototype system provides a good approach to anomaly detection and prediction using Bayesian Networks trained on common environmental activities.
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Peynot, Thierry. "Selection et controle de modes de deplacement pour un robot mobile autonome en environnements naturels." Thesis, Institut National Polytechnique de Toulouse, 2006. http://ethesis.inp-toulouse.fr/archive/00000395/.
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Autonomous navigation and locomotion of a mobile robot in natural environments remain a rather open issue. Several functionalities are required to complete the usual perception/decision/action cycle. They can be divided in two main categories : navigation (perception and decision about the movement) and locomotion (movement execution). In order to be able to face the large range of possible situations in natural environments, it is essential to make use of various kinds of complementary functionalities, defining various navigation and locomotion modes. Indeed, a number of navigation and locomotion approaches have been proposed in the literature for the last years, but none can pretend being able to achieve autonomous navigation and locomotion in every situation.
Thus, it seems relevant to endow an outdoor mobile robot with several complementary navigation and locomotion modes. Accordingly, the robot must also have means to select the most appropriate mode to apply.
This thesis proposes the development of such a navigation/locomotion mode selection system, based on two types of data: an observation of the context to determine in what kind of situation the robot has to achieve its movement and an evaluation of the behavior of the current mode, made by monitors which influence the transitions towards other modes when the behavior of the current one is considered as non satisfying.
Hence, this document introduces a probabilistic framework for the estimation of the mode to be applied, some navigation and locomotion modes used, a qualitative terrain representation method (based on the evaluation of a difficulty computed from the placement of the robot's structure on a digital elevation map), and monitors that check the behavior of the modes used (evaluation of rolling locomotion efficiency, robot's attitude and configuration watching. . .).
Some experimental results obtained with those elements integrated on board two different outdoor robots are presented and discussed.
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Winston, Kiley Elizabeth. "Body dissatisfaction and other sociocultural factors as predictors of body image perceptions in sorority and non-sorority women." Click here to access thesis, 2006. http://www.georgiasouthern.edu/etd/archive/spring2006/kiley_e_winston/Winston_Kiley_E_200608_MPH.pdf.
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Thesis (M.P.H.)--Georgia Southern University, 2006.<br>"A dissertation submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Master of Public Health" ETD. Includes bibliographical references (p. 79-89) and appendices.
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Castillon, Jeanne. "Les Actes de naissance de Claude Simon. Sur quelques dispositifs d'écriture, archive, érotisme et pornographie." Electronic Thesis or Diss., Paris 3, 2023. http://www.theses.fr/2023PA030018.
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La thématique érotique, voire pornographique, dans les œuvres de Claude Simon a fait l’objet d’analyses précises mais partielles. Cette place marginale dans les travaux de recherche sur l’œuvre de Claude Simon peut s’expliquer par le discrédit culturel et social à l’encontre des deux thèmes souvent réservés à une forme de paralittérature et de littérature « sous le manteau » ou « bon marché » qui ne siéent guère à un écrivain récompensé par le Prix Nobel de Littérature (1985). Pourtant l’amour, le désir et la sexualité sont au sein de chaque roman. Ils concourent à donner forme à une « littérature vivante » que l’écrivain appelle de ses vœux dans son Discours de Stockholm. Son observation avide et attentive du monde inscrit une poétique du voyeurisme au cœur de ses textes. Avant d'être écrivain, Claude Simon est peintre, il compose aussi des collages, dessine, photographie et emprunte, le temps d’une aventure cinématographique, le chemin des studios de Télévision. Il tire des dispositifs de l’image des leçons de composition pour ses fictions et fait voir ce qui est « mal vu ». Ce sont autant de faireparts des « actes de naissance » de l’écriture. La dimension biographique est partie prenante de ces « actes » qui s’écrivent tout contre une pluralité massive d’actes de morts (la première guerre mondiale, la maladie, la révolution espagnole, la vieillesse, la seconde guerre mondiale, le camp de prisonniers, le suicide, etc.) auxquels Claude Simon est confronté tout au long de sa vie (1913-2005). Il y a une sorte de « toucher le fond » qui informe toute son écriture, du plus petit au plus grand élément, de la lettre au livre. Il déjoue les modèles canoniques en insufflant à la littérature une vitalité et une survivance qui commencent avec l’image et l’archive<br>The erotic, if not pornographic theme in Claude Simon’s work has been the subject of detailed, yet partial studies. The little focus on these among the research works on Claude Simon’s work can be explained by the social and cultural stigma associated with the two themes, usually found in a certain paraliterature or “under the table” or “cheap” literature that do not suit a writer that was awarded the Nobel Prize in Literature (1985). Yet, love, desire and sexuality can be found in every one of his novels Together, these contribute in shaping a “living literature” that the writer called for in his Banquet Speech. His keen and careful observation of the world brings a voyeurism poetics to the core of his writings. More than a writer, Claude Simon was also a painter, collage artist, drawer, photographer, and for one cinematographic adventure, found himself in TV studios. From the image apparatus, he draws lessons for his fictions’ compositions and unveils what was meant to remain hidden. These are all announcements of writing’s “birth certificates”. The biographical dimension is an integral part of these “acts” written against a stream of various death announcements (World War I, disease, the Spanish revolution, old age, World War II, the prison camp, suicide, etc.) that Claude Simon had to face during his entire life (1913-2005). There is a history of “hitting rock bottom” that informs all of his writings, big or small, from letters to books. He eludes canonical models by instilling into literature a vitality and a sense of survival that sprout from images and archives
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Mouton, Jacques P. "Drawing the building and building the drawing." Diss., University of Pretoria, 2014. http://hdl.handle.net/2263/45292.
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The way we build is inherently bound to methods implemented when representing any proposed intervention. Superficially, it would seem that the techniques used for representing architecture have rapidly progressed, especially with regard to the influence technology has on the depiction of architectural form in a graphically accessible manner. However, when critically examining the consequential products that arise from either method, it becomes evident that very little has been gained through employing these new methods of creation and depiction. Through accepting, wholeheartedly, drawing conventions adapted from generation to generation- combined with the digitisation of methods used for depicting architectural intent and/or instruction, a schism emerged. There exists a divide between the act of drawing, and the primal meaning represented through the product. To escape the doldrums created by the aforementioned condition, this dissertation presents a fourfold investigation on ‘architectural drawing’ as entity. The four individual chapters should be understood as reflections on the methodological approaches employed in the formation of the resulting intervention. The summarised topics are as follows:
It is important to note that all the drawings presented in this document were done by hand, and drawn with considerable love and precision. As such, The drawings are intended to be carefully studied and contemplated - with specific regard to the preceding text - in order to create a holistic view of the project. The resulting intervention is informed by, and thus a direct product of, investigative sketches that act as research- and mapping devices. This process enables the communication of internalised ideas, both to oneself and to others. Since communication is fully dependent on the clear translation of ideas, drawings become the embodiment of the formulated approach, instead of a representation of internalised ideas. The programme housed by the resulting architecture aims to further strengthen the proposed theoretical premise through emphasising the impact that drawing has on spatial hierarchy. The act of drawing possesses the power to define or alter perceptions of hierarchal value contained within artefacts. through manipulating the emphasis placed on an object within a drawing it becomes possible to manipulate it’s perceived importance.<br>Dissertation (MArch(Prof))--University of Pretoria, 2014.<br>Architecture<br>MArch(Prof)<br>Unrestricted
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Martin, Michele Y. "Effects of resistance and aerobic exercise on physical self-efficacy and social physique anxiety in female college students." Click here to access thesis, 2006. http://www.georgiasouthern.edu/etd/archive/fall2005/michelle%5Fy%5Fmartin/martin%5Fmichele%5Fy%5F200601%5Fm.s..pdf.
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Thesis (M.S.)--Georgia Southern University, 2006.<br>"A thesis submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Master of Science" ETD. Includes bibliographical references (p. 30-32) and appendices.
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Warensjö, Mats. "Compression wood in Scots pine and Norway spruce : distribution in relation to external geometry and the impact on dimensional stability in sawn wood /." Umeå : Swedish University of Agricultural Sciences, 2003. http://diss-epsilon.slu.se/archive/00000415/.
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Thesis (doctoral)--Swedish University of Agricultural Sciences, 2003.<br>Thesis documentation sheet inserted. Appendix includes reprints of five papers and manuscripts, four co-authored with others. Includes bibliographical references. Also issued electronically via World Wide Web in PDF format; online version lacks appendix.
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Smith, Liam Arthur. "Instruments of Memory: The Architect as Archivist." Thesis, Virginia Tech, 2014. http://hdl.handle.net/10919/25285.
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The mental space in which the architect formulates, tests, and cultivates an idea is deformed by memory, so that nothing projected into this space is bereft of association. However, neither is this space constrained by physical reality, allowing the architect a certain freedom to visualize the totality of an object and the world in which it is projected, simultaneously and in suspension: a space between memory and imagination. Memories and experiences layer richness upon this inner world and form the context for its manifestation; its realization. The deliberate and conscientious curation of this inner world-- the architect as archivist of memory and experience-- is an essential practice for the development of the architect and the worlds in which they operate.<br>Master of Architecture
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Cutler, Sarah L. ""An irresistible invitation" : enhancing academic publication in rhetoric and composition by inviting online peer commentary /." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd2945.pdf.
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Naples, Jessica R. "Goose Butt, Grandma Glasses, And Other Ordinary Things." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1405594537.
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SILVA, Sabrina Tenório Luna da. "Imagem Reciclada – Uma análise dos processos de visualidade contemporânea no cinema de found footage." Universidade Federal de Pernambuco, 2015. https://repositorio.ufpe.br/handle/123456789/17277.
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Previous issue date: 2015-03-17<br>FACEPE<br>Found footage é uma regime estético que tem como base a apropriação de imagens preexistentes para a realização fílmica. Questões concernentes à reciclagem, ao arquivo e à memória são despertadas por essas obras. Além de tais temas, temos como objetivo investigar como os filmes experimentais em found footage relacionam-se com a confluência tecnológica imagética corrente, analisando a conexistência entre arquivos de distintos formatos e materialidades dentro de um mesmo espaço temporal. Para isso, investigaremos obras provenientes de distintas tecnologias, buscando evidenciar aspectos de representação mnemônica, narratividade histórica e as relações que esses filmes estabelecem com o arquivo. No início da pesquisa será realizado um mapeamento em torno das obras seminais do found footage. A partir disso, buscaremos delinear conexões estéticas e discursivas com a contemporaneidade e em seguida realizaremos uma releitura crítica sobre os conceitos de memória, narratividade histórica e arquivo. Após a releitura bibliográfica e histórica, seguiremos para a análise de filmes contemporâneos em found footage buscando, com isso, investigar as distintas formas através das quais o excesso imagético proporciona um segundo uso para as imagens tecnológicas.<br>Found footage is an aesthetic regime that has the appropriation of preexisting images as the main basis of the film realization. Questions concerning to the recycling, the archive and the memory are awaken by its works. Beyond this, we intend to investigate how found footage experimental movies relate with the current image technological confluence, analyzing the coexistence between archives of distinct formats and material inside the same temporary space. To this, we will investigate works from different technologies, searching to evidence aspects of mnemonic representation, historical narrative and the relations that found footage films establish with the archive. In the beginning of the research we will map the seminal works of found footage. From there, we intend to outline discursive and aesthetic connections with the contemporary works to later make a critic analysis of the concepts of memory, historic narrative and archive. In the end, we will follow to the bibliographic analysis and subsequently to the analysis of found footage contemporary films, in order to investigate the various ways in which the imagery excess provide a second use to the technical image.
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Lévêque, Cyrielle. "Artification de l’archive : une dialectique entre figures et absences." Electronic Thesis or Diss., Université de Lorraine, 2018. http://www.theses.fr/2018LORR0334.
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L’élaboration de ce travail de thèse s’inscrit dans une démarche universitaire, elle est également pensée de manière simultanée avec la création artistique. Elle s’oriente vers des questionnements liés à une quête personnelle, intime, mais également « traquée » dans une voie plus large qui est celle de la généalogie, de la photographie de famille, de l’image documentaire et des zones d’ombres qui font partie de toute histoire personnelle. Des mécanismes de résistance à l’artification se déploient comme tentative de réponse artistique et de recherche, face à une histoire mutique, un manque de paroles. L’histoire familiale est source de filiations plurielles, de transmissions – verbales ou non –, mais aussi de secrets. Certains vides apparaissent parfois dans des portraits où l’élément absent, par l’insistance de son manque dans la logique du récit, devient obsédant. La spécificité pour les artistes qui s’attachent à ces corpus consiste à collecter, s’approprier et exposer ces images troubles pour les réinvestir dans un circuit artistique, volubile et efficace. Ces nouvelles images, définies comme histoires intimes mais aussi comme un art du témoignage, se transforment alors en une mémoire collective : par un habile téléscopage de sens, l’oeuvre ainsi née de l’image vernaculaire fait irruption par sa plasticité et offre un sens nouveau à la figure effacée ou absente. Cette réflexion théorique et artistique, entreprise sur les relations polysémiques entre photographie documentaire et poïétique de l’effacement, analyse la manière dont l’art agit au coeur des images d’archives. Qu’est-ce qui de l’art– par ses méthodes, ses dispositifs de mise en oeuvre, son inscription sociale et historique–se trouve activé qui permette ainsi de « lire » une image qui refusait de se donner. Réciproquement, quels leviers sont élaborés par les artistes, pour mettre à jour des images qui ne leur appartiennent pas et qui viennent bouleverser notre rapport à l’information initiale ? C’est là tout l’enjeu de cette recherche théorique et plastique qui permet de saisir une mécanique d’artification des images d’archives, à mi-chemin de l’histoire intime et de la mythologie artistique ; ou comment du récit en creux surgissent des images, figures vacillantes entre présence et absence, archives d’un devenir reformulé<br>The development of this thesis work falls within an academic approach, andis also simultaneously thought in connection with the artistic creation. It deals with personal and private questioning, but is also « hunted » in a different way regarding yet genealogy, family and documentary pictures and the shadow zones that are part of all personal history. Mechanisms of resistance to arti- fication are deployed as an attempt at an artistic and theoretical response, facing a mute story, a lack of words. The family history is the origin of plural filiations, transmissions–with or without words–but also secrets. Sometimes some empty spaces appear on portraits. The missing element, thus, becomes an obsession due to its lack in the logic of the story. The artists working on those corpuses specifically aim to collect, reclaim and exhibit those blurred pictures in order to re-use them into an artistic, voluble and efficient circuit. These new pictures–private stories and testimony art at once–turn into a collective memory : by a clever telescope of meaning, the work, born out of the vernacular image, breaks through thanks to its plasticity, and offers a new meaning to the erased or absent figure. This theoretical and artistic reflection, based on the polysemous relations between documentary pictures and « erasing poietic », analyses the way that art acts into old archive pictures. How can art give the power to « read » a picture that is invisible ? Which ways, implemented devices, social and histo- ric beliefs allow it ? Conversely, what levers are developed by the artists, to update images that do not belong to them and that change our vision of the initial information ? Here is the challenge of this theoretical and plastic research that let us understand a mechanism of the artifying archival image, midway between private story and artistic mythology ; or how can images or vacilla- ting figures between presence and absence appear from invisible elements, as archives of a reformulated future
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Jägberg, Isak, and Mats Stichel. "Delta encoding image archives : Comparing delta encoding and PNG as compression methods for image archives." Thesis, KTH, Skolan för datavetenskap och kommunikation (CSC), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-168661.
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This thesis studies the effect of using delta encoding to compress archivesof images. The results are compared with two types of lossless PNGcompression. The tests show that the most sophisticated PNG methodtested compresses the archives around 2-12% higher than the delta encodingmethods, but at the cost of taking more than 10 times as long.The conclusion is therefore drawn that delta encoding could be a usefulmethod for compressing image archives in environments where speed ismore important than storage.
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Antonsson, Andreas, and Olivia Kassander. "Compelling interaction for large digital image archives." Thesis, Linköpings universitet, Medie- och Informationsteknik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-130020.
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Samhället idag sitter på ett stort kulturarv av bilder som nu digitaliserats i stora digitala bildarkiv. För att allmänheten ska få möjlighet att ta del av detta så har denna studie undersökt hur man kan skapa en interaktiv tjänst som ger åtkomst till ett stort antal bilder med en intresseväckande visuell upplevelse. För att besvara detta har en kvalitativ studie genomförts med en blandning av forskning genom design och fallstudie. Studiens har bestått av intervjuer med en intendent på Norrköpings stadsmuseum och fokusgrupper som besvarar målgruppens efterfrågan. Utifrån detta skapades designförslag som testades med hjälp av användbarhetstester och som därefter utvärderades genom en induktiv kvalitativ analys. Studiens resultat visar att skapandet av en interaktiv tjänst som ger åtkomst till ett stort antal bilder med en intresseväckande visuell upplevelse bör utgå från en tydlig och engagerande interaktion. Med bilder som får ta stor plats och med element som kan öka intresset i form av karta som visualliserar bildens position och tidslinje som ger möjlighet till filtrering.
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Jackson, Meg R. "Storyable Images: Manfred Beier’s Private-to-Public Archive." Taylor & Francis, 2016. http://hdl.handle.net/10150/621763.
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Fernández, Moreno Ana Aitana. "La Cicatriz de la ausencia: un atlas íntimo de la memoria fílmica desde la imagen-objeto." Doctoral thesis, Universitat Pompeu Fabra, 2019. http://hdl.handle.net/10803/665483.
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¿Es posible acceder a la memoria involuntaria a través del cine? Esta investigación aborda la memoria del cineasta como una cicatriz interior, que se revela al filmar sus archivos personales donde rastrea la huella de una ausencia. Partimos del estudio de la fotografía como recuerdo, imagen que embalsama el tiempo y que al contacto con la cámara de cine se transforma. La mirada del cineasta, mediante el reencuadre o el montaje, despierta aquel tiempo detenido, lo hace presente, evoca un futuro, y de esa interacción resulta lo que llamamos una imagen-objeto. En el intersticio de la imagen fija y la imagen en movimiento se convoca una experiencia revelada en los gestos del cineasta, en los que podemos leer la memoria del mismo medio cinematográfico. Gestos que desbordan el simple álbum familiar hacia un atlas íntimo del recuerdo, de una ausencia que se hace presente en la imagen-objeto.<br>Is it possible to reach the involuntary memory through cinema? This dissertation approaches the memory of the filmmaker as an inner scar that is revealed when filming their personal archives and searching for the trace of an absence. Based on the studies of the photography as memory, as an image that embalms time, we study how this photographic image is transformed within cinema. Through framing and montage, the filmmaker’s gaze awakes the refracted time of the image and brings it to the present to evoke a future; in this interaction the object-image arises. Thus, in the interstice between the still image and the moving image an experience which is revealed in the filmmaker’s gestures is convoked. In these gestures we can read the memory of cinema itself, thus exceeding the simple family album to create an intimate atlas of memory, of an absence that becomes present in the object-image.
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Chen, Li. "Semantic content recognition for large-scale medical image archives." Thesis, University of Surrey, 2005. http://epubs.surrey.ac.uk/842994/.
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The advent of digital technology and the Internet requires an efficient approach to the retrieval and indexing of large volumes of diverse images. Traditional content-based image retrieval (CBIR) approaches cannot satisfy potential high-level application tasks where semantics play an important role. Humans are accustomed to replying on immediate semantic impression generated the moment they observe images, thus the absence of semantics will limit the potential effective applications of image databases. Automatic semantic content recognition has become an open research issue; great difficulties in deriving semantics from primitive image features have constrained semantic based image retrieval (SBIR) to work within comparatively small sets of images. This thesis is an attempt to offer a systematic approach to automatic semantic content recognition in a large-scale image archive. The general research issues of realizing automatic semantic content recognition in a large-scale image database are discussed and explored. Due to the complicated and unpredictable variability in broad image databases, the capture of high-level features is attempted from different visual perspectives and classification theories, exploring techniques and theories of multiple classifiers. The solution proposed here is an improved classifier combination strategy which has potential generic scope. Domain knowledge plays an important role in the disambiguation and recognition of difficult patterns. Through exploring knowledge models existing in image interpretation, global information and spatial contexts are acquired and generalised through a knowledge elicitation subsystem. This knowledge is formalized and modelled in a Markov Random Field (MRF) based framework, with parameter estimations constructed from combining multiple classifiers. An optimal solution is implemented guided by global information and agreed structure analysis. A large-scale histological image database is chosen as the test bed in this research, which has shown encouraging empirical results with improved generalisation performance. Further benefit has additionally been demonstrated in a semantic based image retrieval system.
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Wetovick, Kalie Nicole. "Geodæsia: Land and Memory." Miami University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=miami1303780078.
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Goldsmith, Nestor Bravo. "Filming theater : the audiovisual documentation as a substitute of the performance /." Diss., CLICK HERE for online access, 2007. http://contentdm.lib.byu.edu/ETD/image/etd1795.pdf.
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Schaber, Ines. "Obtuse, flitting by, and nevertheless there : image archives in practice." Thesis, Goldsmiths College (University of London), 2012. http://research.gold.ac.uk/6566/.
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Over the past thirty years, the status of the archive as well as the state of what we call “documentary” have dominated discussions in and around photography. Although it is now commonplace to presume the objectifying gesture of documentary photography, the complex question of how, as a working artist/photographer, to approach the archive has not yet been adequately addressed. The purpose of this research is to raise questions about how, after the critique of the documentary image, the artist/photographer addresses, indeed, finds the archive. I am starting with the assumption that the archive is not only a place of storage but also a place of production, where our relation to the past is materialised and where our present writes itself into the future; thus, accordingly, I understand the archive as a place of negotiation and writing. After the problems of the archive have been identified theoretically, the practice in the archive still encounters challenges and contradictions. This project explores those difficulties that remain within the practice in and around the archive, even after the critique has been stated. It is not about simply extending the critique, but finding an archive and the practice with it. I am approaching these questions as a practitioner. As an artist and photographer, I am concerned with two practices in relation to archives: working with existing archives, and making work that will itself be archived. The point raised by those two activities is not to find or create another institutional archive per se, but to develop an archival practice in which the set of problems that the archives produce is in fact part of the process one engages in. Hence the work is a theoretical and practical set of experiments that may never be complete and conclusive.
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Cruikshank, Brian S. "Real-time parameter adjustment for archival image scanning." Thesis, This resource online, 1992. http://scholar.lib.vt.edu/theses/available/etd-09052009-040453/.
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Cannon, Ammie Sorensen. "Controversial politics, conservative genre : Rex Stout's Archie-Wolfe duo and detective fiction's conventional form /." Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1340.pdf.
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Wiewandt, Frank. "Archiving the digital image today's best practices of file preparation /." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1131398443.
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Rich, Philip. "The culture of cruising : Post-war images form the NMM'S film archive." Thesis, University of Sheffield, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.527202.
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This thesis examines a film collection held at the National Maritime Museum, Greenwich and seeks to establish the historical, cultural and aesthetic legacy of the post-war promotional cruise film. The textual and contextual analysis reveals the cruise film's unique reflection of an era of ideological, social and stylistic change. The thesis establishes an institutional and aesthetic history of the cruise film, focusing on the output of Orient Line, P&O, Union Castle and Cunard. The circumstances surrounding production of promotional material are explored, along with the ideological, commercial and stylistic legacy of the British Documentary Movement and British Transport Film initiative. Prototypical pre-war examples of the form are foregrounded and compared to the films produced through the 1960s. Alongside the cruise film's commercial and aesthetic origins, the thesis explores the image of the ship itself, as an eternal signifier of progress, divinity and nation. The cultural history of the ship as a signifier is traced alongside the visual discourses used to picture This thesis examines a film collection held at the National Maritime Museum, Greenwich and seeks to establish the historical, cultural and aesthetic legacy of the post-war promotional cruise film. The textual and contextual analysis reveals the cruise film's unique reflection of an era of ideological, social and stylistic change. The thesis establishes an institutional and aesthetic history of the cruise film, focusing on the output of Orient Line, P&O, Union Castle and Cunard. The circumstances surrounding production of promotional material are explored, along with the ideological, commercial and stylistic legacy of the British Documentary Movement and British Transport Film initiative. Prototypical pre-war examples of the form are foregrounded and compared to the films produced through the 1960s. Alongside the cruise film's commercial and aesthetic origins, the thesis explores the image of the ship itself, as an eternal signifier of progress, divinity and nation. The cultural history of the ship as a signifier is traced alongside the visual discourses used to picture This thesis examines a film collection held at the National Maritime Museum, Greenwich and seeks to establish the historical, cultural and aesthetic legacy of the post-war promotional cruise film. The textual and contextual analysis reveals the cruise film's unique reflection of an era of ideological, social and stylistic change. The thesis establishes an institutional and aesthetic history of the cruise film, focusing on the output of Orient Line, P&O, Union Castle and Cunard. The circumstances surrounding production of promotional material are explored, along with the ideological, commercial and stylistic legacy of the British Documentary Movement and British Transport Film initiative. Prototypical pre-war examples of the form are foregrounded and compared to the films produced through the 1960s. Alongside the cruise film's commercial and aesthetic origins, the thesis explores the image of the ship itself, as an eternal signifier of progress, divinity and nation. The cultural history of the ship as a signifier is traced alongside the visual discourses used to picture it within the cruise film. The 1960s cruise ship and its filmic representation is examined as a floating microcosm of emergent hedonistic and capitalistic tendencies. In an era of empowerment, liberation and increasing individualism, the cruise film balanced the traditional with the contemporary in its sometimes conflicted portrayals of life at sea. The final chapter of the thesis is devoted to the cruise film's reflection of fading British colonialism. As the British Empire fragmented and political liberalism spread throughout a new generation of young people, the cruise film's latent traditionalism and nationalism became anachronistic. Yet, beneath its swinging '60s aesthetic, the post-war cruise film continued to market its product as an implicit emulation of the colonial process. In conclusion, light is shed on the cruise film's paradoxical position, as advertisers sought to retain the allure of the ocean voyage in an era of mainstream jet travel.
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Vasconcellos, Ellen Maria Martins de. "Entre (ou além) (d)o real e a ficção: a televisão em Realidad, de Sergio Bizzio e Bajo este sol tremendo, de Carlos Busqued." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-05042017-090640/.
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Esta dissertação de mestrado apresenta como corpus de análise as obras publicadas em 2009, Realidad, de Sergio Bizzio, e Bajo este sol tremendo, de Carlos Busqued, ambos autores argentinos. O objetivo é fazer uma leitura crítica de como a televisão e determinados formatos televisivos (o reality show e o documentário) possuem sua estrutura e argumento apropriados por essas narrativas literárias. Nelas, arquivos de imagens se armam e se desmontam, se abrem e se articulam, entre fotografias militares oficiais e confissões banais espetacularizadas, implicando, no trabalho do narrador, um posicionamento, um comprometimento ético e estético, crítico e criativo, ao compartilhar uma história cheia de detalhes (embora cheia de lacunas) com o leitor/espectador. Por isso, em um jogo metonímico entre o visível e o não visível, o explorado e o camuflado, a imagem da violência e a imagem violenta, qualquer semelhança com fatos históricos, imagens reais e materiais ou personagens de ficção não é mera coincidência, é matéria e questão centrais de certas práticas artísticas latino-americanas contemporâneas, como as de Bizzio e Busqued.<br>This dissertation presents as analysis corpus the works published in 2009 by the Argentinian authors Sergio Bizzio, Realidad, and Carlos Busqued, Bajo este sol tremendo. The aim of this study is to make a critical reading of how television and certain television formats (the reality show and documentary) have structure and plot conformed by these literary narratives. In those works, archives are assembled up and taken to pieces, opened and articulated, among military official photographs and spectacular banal confessions, involving, in the narrators work, an ethical and aesthetic, critical and creative commitment, in sharing a story full of details (although full of loopholes) with the reader/viewer. On account of a metonymic role between the visible and non-visible, the exploitation and the camouflage, the image of violence and the violent image, any similarity with historical facts, real images and fictional materials or characters is not a simple coincidence, it is a central matter of some contemporary Latin American art practices, such as Bizzio and Busqued.
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Young, Penelope M. "Witch images in Australian children's literature." University of Southern Queensland, Faculty of Education, 2001. http://eprints.usq.edu.au/archive/00001527/.
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In this dissertation it is argued that the European witch trials that took place between 1450 and 1700 have resulted in a legacy of stereotypical themes in Australian children's literature. Those accused of witchcraft were almost always women who were old, without protection, and physically ugly. They were accused of consorting with the devil, making harmful spells, flying through the night on a magic staff and exhibiting malevolent intent towards others. An analysis of this period forms the contextual framework for identifying themes that appear in contemporary Australian children's literature. A survey of twenty-three books, identified as stories about witches, was conducted to ascertain whether the stereotypical witch from the European witch-hunts continues to be characterised in Australian children's literature. The findings suggest that the witch figure in Australian children's literature mirrors the historical evidence from the European witch trials, but has evolved into a more powerful and proactive character than that identified in the historical literature. The characterisation of the witch in the books for older readers is powerful and evil, compared to the witch as a trivial and diminished figure in the books for younger readers. Gender is also a major influence in the characterisation of the witch, with all readers exposed to themes that may influence their expectations regarding the behaviour and role of women. The representation of the witch in the books reinforces the misogyny of the witchcraft era, and weaves patterns of meaning in the texts that construct undesirable female images. Readers of all ages can link these images to the social world beyond the text.
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Douze, Matthijs Thiesse Bernard Charvillat Vincent. "Estimation d'homographies inter-images." Toulouse : INP Toulouse, 2005. http://ethesis.inp-toulouse.fr/archive/00000034.
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Preethy, Byju Akshara. "Advanced Methods for Content Based Image Retrieval and Scene Classification in JPEG 2000 Compressed Remote Sensing Image Archives." Doctoral thesis, Università degli studi di Trento, 2020. http://hdl.handle.net/11572/281771.
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Recent advances in satellite imaging technologies have paved its way to the RS big data era. Efficient storage, management and utilization of massive amounts of data is one of the major challenges faced by the remote sensing (RS) community. To minimize the storage requirements and speed up the transmission rate, RS images are compressed before archiving. Accordingly, developing efficient Content Based Image Retrieval (CBIR) and scene classification techniques to effectively utilize these huge volume of data is one among the most researched areas in RS. With the continual growth in the volume of compressed RS data, the dominant aspect that plays a key role in the development of
these techniques is the decompression time required by these images. Existing CBIR and scene classification methods in RS require fully decompressed RS images as input, which is a computationally complex and time consuming task to perform. Among several compression algorithms introduced to RS, JPEG 2000 is the most widely used in operational satellites due to its multiresolution paradigm, scalability and high compression ratio. In light of this, the goal of this thesis is to develop novel methods to achieve image retrieval and scene classification for JPEG 2000 compressed RS image archives. The first contribution of the thesis addresses the possibility of performing CBIR directly on compressed RS images. The aim of the proposed method is to achieve efficient image characterization and retrieval within the JPEG 2000 compressed domain. The proposed progressive image retrieval approach achieves a coarse to fine image description
and retrieval in the partially decoded JPEG 2000 compressed domain. Its aims to reduce the computational time required by the CBIR system for compressed RS image archives. The second contribution of the thesis concerns the possibility of achieving scene classification for JPEG 2000 compressed RS image archives. Recently, deep learning methods have demonstrated a cutting edge improvement in scene classification performance in large-scale RS image archives. In view of this, the proposed method is based on deep learning and aims to achieve maximum scene classification accuracy with minimal decoding. The proposed approximation approach learns the high-level hierarchical image description in a partially decoded domain thereby avoiding the requirement to fully decode the images from the archive before any scene classification is performed. Quantitative as well as qualitative experimental results demonstrate the efficiency of the proposed methods, which show significant improvements over state-of-the-art methods.
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Preethy, Byju Akshara. "Advanced Methods for Content Based Image Retrieval and Scene Classification in JPEG 2000 Compressed Remote Sensing Image Archives." Doctoral thesis, Università degli studi di Trento, 2020. http://hdl.handle.net/11572/281771.
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Recent advances in satellite imaging technologies have paved its way to the RS big data era. Efficient storage, management and utilization of massive amounts of data is one of the major challenges faced by the remote sensing (RS) community. To minimize the storage requirements and speed up the transmission rate, RS images are compressed before archiving. Accordingly, developing efficient Content Based Image Retrieval (CBIR) and scene classification techniques to effectively utilize these huge volume of data is one among the most researched areas in RS. With the continual growth in the volume of compressed RS data, the dominant aspect that plays a key role in the development of
these techniques is the decompression time required by these images. Existing CBIR and scene classification methods in RS require fully decompressed RS images as input, which is a computationally complex and time consuming task to perform. Among several compression algorithms introduced to RS, JPEG 2000 is the most widely used in operational satellites due to its multiresolution paradigm, scalability and high compression ratio. In light of this, the goal of this thesis is to develop novel methods to achieve image retrieval and scene classification for JPEG 2000 compressed RS image archives. The first contribution of the thesis addresses the possibility of performing CBIR directly on compressed RS images. The aim of the proposed method is to achieve efficient image characterization and retrieval within the JPEG 2000 compressed domain. The proposed progressive image retrieval approach achieves a coarse to fine image description
and retrieval in the partially decoded JPEG 2000 compressed domain. Its aims to reduce the computational time required by the CBIR system for compressed RS image archives. The second contribution of the thesis concerns the possibility of achieving scene classification for JPEG 2000 compressed RS image archives. Recently, deep learning methods have demonstrated a cutting edge improvement in scene classification performance in large-scale RS image archives. In view of this, the proposed method is based on deep learning and aims to achieve maximum scene classification accuracy with minimal decoding. The proposed approximation approach learns the high-level hierarchical image description in a partially decoded domain thereby avoiding the requirement to fully decode the images from the archive before any scene classification is performed. Quantitative as well as qualitative experimental results demonstrate the efficiency of the proposed methods, which show significant improvements over state-of-the-art methods.
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Baumann, Stefanie. "Ceci n’est pas un centre d’archives ! : l’Atlas Group de Walid Raad et les déplacements hétérotopiques de la question de l’histoire." Doctoral thesis, Paris 8, 2013. http://www.theses.fr/2013PA084120.
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Cette thèse est une tentative de penser, dans le projet Atlas Group de l’artiste libano-américain Walid Raad, l’interpénétration entre « teneur de vérité » et « teneur chosale », comme la formule Walter Benjamin. L’Atlas Group est une œuvre complexe et curieuse à traits borgésiens: introduite comme une fondation « dédié[e] à la recherche et la compilation de documents sur l’histoire contemporaine libanaise », ce centre d’archives, les documents du corpus et les personnages qui le peuplent, sont au fait des inventions de l’artiste, qui enchevêtre ainsi délibérément des éléments réels et fictifs et rejoue subversivement plusieurs réalités. L’histoire et la politique conflictuelles du Liban des guerres et d’après-guerre confrontent, dans l’hétérotopie raadienne, l’organisme prétendument neutre qui les aborde et le contexte d’art contemporain dans lequel le projet s’inscrit. Ces trois réalités hétérogènes ne sont pourtant pas clairement délimitées, mais s’entrelacent sur plusieurs plans en agissant l’une sur l’autre dans le projet, révélant par là la portée politique à même leur forme: l’ordre de l’archive est contaminé par les désordres libanais, les images et figures agissent sur les contenus et vice versa, et les positions des sujets supposés savoir ou des objets supposés donner accès à une connaissance sont déplacées par le dispositif même qui les comprend. L’Atlas Group met ainsi la pensée philosophique devant le défi d’apprendre à voir dans l’œuvre, de devenir complice du regard qui l’appréhende afin de déceler ses enjeux critiques et de problématiser, à travers des constellations chargées de tension, comment des formes et des concepts s’imbriquent dans le réel<br>This thesis is an attempt to think the interpenetration of ‘subject-matter’ and ‘truth-content’—as formulated by Walter Benjamin—in Walid Raad’s project, the Atlas Group. This work is a complex and curious one, with Borgesian features: introduced as a foundation “dedicated to the research and the compilation of documents on Lebanese contemporary history,” this archive, its documents and the characters that populate it are in fact inventions of the artist who mixes up deliberately real and fictitious elements and re-enacts subversively several realities. The conflictual history and politics of war and postwar Lebanon confront, in Raad’s heterotopy, the allegedly neutral organism approaching them as well as the context of contemporary art in the framework of which the project unfolds. These three heterogeneous realities are not nonetheless clearly delimited but rather intertwined on many levels, one acting on the other, revealing thereby the political significance of their own form. The order of the archive is contaminated by the Lebanese disorder; images and figures affect the subject-matter and vice versa; and the positions of subjects supposed to know, and objects supposed to give access to knowledge are displaced by the dispositif which incorporates them. The Atlas Group thus impels the philosophical thought to learn how to look in and through the work itself, to become an accomplice of the gaze apprehending it in order to detect what is critically at stake within it and to problematize, through tension-ridden constellations, how forms and concepts interlock within reality
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RONDINI, ALESSANDRA. "Per una traduzione di immagini. Il Nordest degli anni Trenta in Italia. Jorge Amado, Graciliano Ramos e José Lins Do Rego: il libro-archivio." Doctoral thesis, Università degli studi di Genova, 2019. http://hdl.handle.net/11567/942175.
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Translation allows that literary works created in one cultural context circulate in another cultural system that welcomes them. Translated literature goes through a complex journey with important and sometimes necessary changes, in order to integrate a different literary horizon. Several are the protagonists that play a role in this delicate journey called “translation” and there are numerous elements which determine how foreign literature is presented in the realm of true cultural mediation. This research aims to analyse the proposal made for Italian readers of 1930s Northeastern Brazilian regional literature through the translation works by Jorge Amado, Graciliano Ramos e José Lins do Rego. This reflection is based on the idea that book is an archive in constant change which opens itself up through its direct or indirect (and always relevant) paratexts, and which are, in some cases, instrumental to the creation of the image that this literature ended up having in Italian cultural landscape.
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Holtmeier, Matthew. "Images, Maps, Movies: Bioregional Imaginaries of Cascadia from the Archives." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etsu-works/5445.
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Lodeserto, Arianna. "L’image et l’archive. Archéologie du présent dans l’œuvre de Walter Benjamin et Michel Foucault." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040081.
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Deux chemins hétérogènes seront déployés dans cette thèse, deux façons de conduire la quête d’une « méthode archéologique » qui mette le présent « dans une position critique », en interrogeant à nouveau l’écriture de l’histoire et la construction de ses objets. Le but est d’approcher la conception de l’histoire exposée par Walter Benjamin – dans Le livre des Passages, dans les thèses Sur le concept d’histoire et dans les matériaux préparatoires – et l’archéo-généalogie de Michel Foucault, examinée à travers les textes, les entretiens et les Cours au Collège de France faisant partie de sa première production. Au-delà des différences entre les lieux d’origine des œuvres en question, la thèse suggère une possible confrontation en limitant la comparaison à certains vecteurs fondamentaux de leur grille conceptuelle, y compris la critique du concept d’origine, le rôle des discontinuités, la perspective des « sans nom », la désagrégation en images de l’expérience historique et enfin la défense d'un usage de l’histoire qui est à la fois tactique, stratégie et surface fertile de la philosophie. L’histoire devient urgence de la pensée<br>In this dissertation I will plot out two heterogeneous paths used in conducting the search for an “archeological method” which would be able to place the present “in a critical position” and therefore question the modality in which history is written and its object constructed. My aim is to compare the conception of history exposed by Walter Benjamin in the Arcades Projects, in the theses On the Concept of History, and in other preparatory materials, with Michel Foucault’s archeo-genealogy, which I will explore making reference to Foucault’s shorter texts, interviews, and the Lectures at the Collège de France from the first phase of his carrier. While aware of the inevitable differences separating Benjamin’s and Foucault’s works, I suggest a possible convergence by limiting my comparison to some essential vectors of their conceptual frameworks, such as: the critique of the concept of origin, the role of discontinuity, the perspective of the “anonymous,” the fragmentation of history into singular images, and, eventually, the defense of the use of history as both fertile soil for philosophy as well as political strategy. History becomes the urgency of thought