Relevant bibliographies by topics / Images fragmentées

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

Academic literature on the topic 'Images fragmentées'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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Journal articles on the topic "Images fragmentées"

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Cortezão, Simone. "O som das escavadeiras." Cadernos Benjaminianos 13, no. 1 (April 13, 2018): 167. http://dx.doi.org/10.17851/2179-8478.13.1.167-179.

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Resumo: O texto narra um sonho que tive após três anos de filmagens em áreas de mineração e de resíduos industriais, denominadas aqui como zonas de ressaca. Ele adentra na discussão da ressaca e da percepção da realidade e dos acontecimentos, no ponto onde o som e a memória ultrapassam a imagem, trazendo a via do sonho como o pregnante e complexo fundo da memória, quando os fragmentos da invisibilidade da história atual despertam no campo frouxo do adormecer. Palavras-chave: sonho; som; imagens oníricas; memória; ruínas; natureza.Abstract: The text narrates a dream I had after three years of filming in mining and industrial waste areas, referred to here as undertow zones. It delves into the discussion of undertow and perception of reality and events at the point where sound and memory surpass the image, bringing the path of the dream as the meaningful and complex depth of memory when the fragments of the invisibility of present-day history awaken in the loose field of falling asleep.Keywords: dream; sound; oneiric images; memory; ruins; nature.
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Abdullah, Nurul Azma, Kamaruddin Malik Mohamad, Rosziati Ibrahim, and Mustafa Mat Deris. "X_myKarve." International Journal of Digital Crime and Forensics 8, no. 3 (July 2016): 63–84. http://dx.doi.org/10.4018/ijdcf.2016070105.

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Many studies have been conducted in addressing problem of fragmented JPEG. However, carving fragmented JPEG files are not easy to solve due to the complexity of determining the fragmentation point. In this article, X_myKarvee framework is introduced to address the fragmentation issues that occur in JPEG images. X_myKarve introduce a new technique, deletion by binary search to detect fragmentation point which is used to separate a file into several individual fragments. These fragments are then reassembled with the correct pairs which form a complete and correct image. X_myKarve is tested using various datasets namely DFRWS 2006 and DFRWS 2007. The result shows that X_myKarve is capable of carving over 20% more than myKarve and RevIt for DFRWS 2006 datasets where X_myKarve can carve intertwined fragmented JPEG images completely compared to myKarve and RevIt. X_myKarve is a good alternative for carving fragmented JPEG files intertwined with each other.
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Volpe, Míriam L. "A imagem como ruína: de uma totalidade irrecuperável." Aletria: Revista de Estudos de Literatura 8 (March 2, 2018): 262–69. http://dx.doi.org/10.17851/2317-2096.8..262-269.

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Resumo: O dialogismo entre o filme Citizen Kane, de Orson Welles, e o poema “Kubla Khan”, de S. T. Coleridge, é analisado, sendo evidenciados não só o tema em comum – o mito do Paraíso perdido – como também a similaridade na organização do discurso na justaposição das imagens, como fragmentos da memória a serem preservados.Palavras-chave: literatura; cinema; montagem; intertexto; museu.Abstract: The intertext between the film Citizen Kane, by Orson Welles, and the poem “Kubla Khan”, by S. T. Coleridge, is analised. A common theme, the myth of lost Paradise, and similar strategies in the organization of discourse, the manipulation of images as juxtaposed fragments from reservoirs of memories, are shown.Keywords: literature; cinema; montage; intertext; museum.
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Krishnamurthy, Savitri, Kechen Ban, Kenna Shaw, Gordon Mills, Rahul Sheth, Alda Tam, Sanjay Gupta, and Sharjeel Sabir. "Confocal Fluorescence Microscopy Platform Suitable for Rapid Evaluation of Small Fragments of Tissue in Surgical Pathology Practice." Archives of Pathology & Laboratory Medicine 143, no. 3 (October 30, 2018): 305–13. http://dx.doi.org/10.5858/arpa.2018-0352-oa.

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Context.— Rapid advances in the fields of biophotonics, computer science, and instrumentation have allowed for high-resolution imaging of biologic tissues. Objective.— To evaluate the quality of images from an optimized confocal fluorescence microscopy (CFM) platform for rapid evaluation of small fragments of tissue, compared with hematoxylin-eosin staining. Design.— Tissue fragments (up to 1.0 × 0.3 cm) were stained with 0.6 mM acridine orange for 60 seconds and imaged using a CFM platform at 488-nm and 785-nm wavelength. The imaged tissues were then fixed in formalin and processed to generate hematoxylin-eosin–stained tissue sections. The quality of CFM images was scored on a scale of 0 to 3 on the basis of the percentage of the CFM images with recognizable tissue architecture (0, 0%; 1, <20%; 2, 20%–50%; 3, >50%). The diagnoses made using CFM images were compared with those made using histopathologic analysis of the hematoxylin-eosin–stained tissue sections. Results.— We imaged 118 tissue fragments obtained from 40 breast, 23 lung, 39 kidney, and 16 liver surgical excision specimens. We acquired CFM images in 2 to 3 minutes; 95.8% (113 of 118) of images showed a quality score of 3, and 4.2% (5 of 118) had a score of 2. We achieved a sensitivity of 95.5%, specificity of 97.3%, positive predictive value of 95.5%, and negative predictive value of 97.3%. Conclusions.— Our results demonstrate the suitability of the CFM platform for rapid and accurate evaluation of small tissue fragments in surgical pathology practice.
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Zhuge, Hai. "Retrieve images by understanding semantic links and clustering image fragments." Journal of Systems and Software 73, no. 3 (November 2004): 455–66. http://dx.doi.org/10.1016/j.jss.2003.08.243.

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جعفر, سوسن, and محمد ابراهيم. "الصورة البيانية في ديوان ( شظايا ورماد) لنازك الملائكة." Al-zaytoonah University of Jordan Journal for Human and Social Studies 2, no. 2 (July 30, 2021): 110–33. http://dx.doi.org/10.15849/zjjhss.210730.07.

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اعتمدت نازك الملائكة في بنائها النصّي على الصورة البيانيّة في ديوانها شظايا ورماد - قيد الدراسة- اعتمادًا شبه كلي أولًا، ثم أن هذه الصور– في أغلب- قصائدها لا تشتغل صورة بمعزل عن الأخرى، بل إننا نجد تداخلًا واضحًا بين صورة تشبيهيّة وأخرى استعاريّة وثالثة كنائيّة في قصيدة واحدة. لذا جاءت هذه الدراسة مركزةً في أصولها وآليات اشتغالها على هذه الصور، محللة النصّ بما يتطلبه من تحليل بلاغيّ، وفي الآن ذاته محاولةً تحليل بعضها نقديًّا، فاشتملت، بعد المقدمة والتمهيد؛ على تبيان مفهوم الصورة والصورة البيانية؛ لنستند إليه في مباحث دراستنا التي تحددت بثلاثة مباحث، وهي: الصورة التشبيهيّة، والصورة الاستعاريّة، والصورة الكنائيّة . الكلمات المفتاحيّة: الصورة، البيانيّة، نازك الملائكة، شظايا ورماد.
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Valentim, Felipe Vieira. "Imagens de pensamento em Benjamin: ética, estética e linguagem/ On Benjamin’s Thought-Images: ethics, aesthetics and language." Cadernos Benjaminianos 14, no. 2 (February 25, 2019): 21. http://dx.doi.org/10.17851/2179-8478.14.2.21-34.

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Resumo: Esta proposta objetiva refletir as imagens constelares do pensamentobenjaminiano, evidenciando-se a plasticidade com que se organizam fragmentos, pequenos ensaios e aforismos, formas destoantes daquelas autorizadas pelo saber histórico-científico. O trabalho sobre as Passagens, iniciado em 1927, é projeto de um livro que problematiza o avanço da modernidade capitalista em grandes metrópoles – Paris é um exemplo. As imagens verbais de Benjamin expõem uma organização da linguagem pensada como um campo de onde emerge uma complexa e intricada rede de relações entre conhecimento e experiência. A conclusão destaca a materialização do pensamento como obra de arte, cujo agrupamento de recortes ocorre pela afinidade visível entre as ideias, as “imagens de pensamento” [Denkbilder]. Desta forma, a partir do fragmento, ruínas e representações são modos de pensar uma ética do presente escrita à contrapelo da modernização: um projeto contraditório, inacabado e mal resolvido. Palavras-chave: passagens; pensamento constelar; Denkbilder.Abstract: This proposal aims to reflect the Constellation in Benjaminian thought, evidencing the plasticity concerning the organization of fragments, small essays and aphorisms: forms disproven from those authorized by historical-scientific method. The Arcades Project (started in 1927) is a kind of research which problematizes the advance of capitalist modernity in large metropolises – Paris is an example. Verbal images in Benjamin’s thought present an organization of language as a field from which emerges a complex and intricate relation between knowledge and experience. The conclusion highlights the materialization of thought as a work of art, whose grouping of fragments occurs by the visible affinity between ideas, “Thought-Images” [Denkbilder]. In this way, from the fragment, ruins and representations are ways of thinking an ethics of the present time which is written against the modernization: a contradictory, unfinished and ill-resolved project.Keywords: the arcades project; constellation; Denkbilder.
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Ogrodnik, Benjamin. "Silenced Images, Fragmented Histories." Feminist Media Histories 5, no. 2 (2019): 211–39. http://dx.doi.org/10.1525/fmh.2019.5.2.211.

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Sharon Green's short film Self Portrait of a Nude Model Turned Cinematographer (1971) represents a collision of incipient cinefeminism and autobiographical filmmaking. Containing a blend of still photographs and subjective moving-image shots of her body, the work has largely been overlooked because of a reductive framing of it as mere homage to male avant-garde artists such as Stan Brakhage, for whom Green was a nude model. By analyzing aspects of visual form, production, and exhibition, this article performs a corrective “microhistory” that reclaims Green's film as an important hybrid of erotic self-portraiture and social critique. It also situates Green in relation to proximate artists Carolee Schneemann and Yvonne Rainer. Despite ongoing neglect of the work, Green's Self Portrait remains a potent visual archive that reveals the power hierarchies of the 1970s film community in Pittsburgh, while it questions the masculinist assumptions that underlie avant-garde media and historiography.
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Krishnamurthy, Savitri, Andrea Cortes, Mirtha Lopez, Michael Wallace, Sharjeel Sabir, Kenna Shaw, and Gordon Mills. "Ex Vivo Confocal Fluorescence Microscopy for Rapid Evaluation of Tissues in Surgical Pathology Practice." Archives of Pathology & Laboratory Medicine 142, no. 3 (December 21, 2017): 396–401. http://dx.doi.org/10.5858/arpa.2017-0164-oa.

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Context.— Optical imaging techniques are currently available for imaging tissues without the need for any type of extensive tissue preparation. There are several applications for their potential use in surgical pathology practice. Objective.— To evaluate the feasibility of using a confocal fluorescence microscopy (CFM) platform for ex vivo examination of tissues obtained from surgical resections of breast, lung, kidney, and liver. Design.— Tissue fragments (0.5–1.0 cm) were immersed in 0.6 mM acridine orange for 6 seconds and imaged using a CFM platform at a 488-nm wavelength. The imaged tissues were subsequently fixed in formalin and processed routinely to generate hematoxylin-eosin–stained tissue sections. Mosaics of the grayscale CFM images were studied at different magnifications for recognition of the tissue and were compared with conventional histopathologic examination of hematoxylin-eosin tissue sections. Results.— We imaged 55 tissue fragments obtained from 16 breast (29%), 18 lung (33%), 14 kidney (25%), and 7 liver (13%) surgical excision specimens. Acridine orange labeled the nuclei, creating the contrast between nucleus and cytoplasm and thereby recapitulating the tissue architecture. We could obtain CFM images of good quality within 5 to 10 minutes that allowed recognition of the cytomorphologic details for categorization of the imaged tissue and were similar to histologic examination of hematoxylin-eosin tissue sections. Conclusions.— The ease and speed of acquisition of CFM images together with the resolution and resemblance of the CFM images to hematoxylin-eosin sections suggest that the CFM platform has excellent potential for use in surgical pathology practice.
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Oliveira, Felipe Pinho de, Elpídio Inácio Fernandes Filho, Agostinho Lopes de Souza, and Vicente Paulo Soares. "Mapeamento de Florestas Monodominadas por Myracrodruon urundeuvacom Imagens TM - Landsat 5 e Rapideye." Floresta e Ambiente 22, no. 3 (September 2015): 322–33. http://dx.doi.org/10.1590/2179-8087.090114.

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RESUMOO presente trabalho teve por objetivo avaliar o potencial de utilização de imagens de satélites para mapeamento de fragmentos florestais monodominados por Myracrodruon urundeuva em Tumiritinga, MG. Foram avaliadas diferentes combinações de bandas multiespectrais para a classificação supervisionada de imagens Rapideye e TM - Landsat 5. O melhor resultado encontrado para a classificação da imagem Rapideye apresentou índice Kappa igual a 80 e Kappa Condicional para a classe aroeira monodominante igual a 90. Para a imagem TM - Landsat 5 os índices Kappa e Kappa Condicional para a classe aroeira foram respectivamente 80 e 76. Através dos mapas temáticos produzidos observou-se que 22% do município de Tumiritinga se encontra sob ocupação da aroeira em monodominância. Pode-se concluir que as imagens Rapideye e TM - Landsat 5 podem ser utilizadas no mapeamento do uso e cobertura do solo na região de estudo, e, no entanto, a imagem Rapideye mapeou fragmentos florestais com monodominância de aroeira com melhor acurácia. A análise do uso e cobertura do solo em Tumiritinga não retrata, para a região de estudo, o quadro anunciado de espécie ameaçada de extinção, no qual M. urundeuva se encontra.
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Dissertations / Theses on the topic "Images fragmentées"

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Buchot, Romain. "Etude du traitement visuel précoce des objets par la méthode de l'amorçage infraliminaire." Phd thesis, Université Rennes 2, 2014. http://tel.archives-ouvertes.fr/tel-00984472.

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Trois hypothèses principales existent quant aux indices locaux du contour étant les plus informatifs pour le processus de structuration de la forme, et permettant l'identification visuelle des objets : les angles et les indices de tridimensionnalité (Biederman, 1987 ; Boucart et al, 1995), les éléments mi-segments (Kennedy & Domander, 1985, Singh & Fulvio, 2005), et l'interaction entre le type de fragmentation et le degré de spécificité de la forme globale (Panis & Wagemans, 2009). L'objectif de ce travail consiste donc à confronter ces trois hypothèses, en tentant de déterminer par ailleurs le niveau (conscient ou non conscient) auquel s'opèrent la détection et le traitement de ces indices. Les paradigmes d'amorçage supra et infraliminaire sont employés. Des dessins d'objets fragmentés selon deux modes (angles et indices de tridimensionnalité versus éléments mi-segments) sont insérés en tant qu'amorce, précédant une image cible du même objet, elle-même fragmentée et présentant des zones de contours strictement identiques ou complémentaires à l'amorce. Aucune des quatre expériences proposées ne met en évidence un effet " qualitatif " du type de fragmentation. En revanche, certaines conditions temporelles permettent un effet d'amorçage de type lié à la quantité de contour présenté. Nos résultats confirment l'ambiguïté émergeant de la littérature relative aux zones de contours les plus informatives, et semblent conforter la nécessité d'un haut degré d'automaticité des processus impliqués dans la perspective de mettre en évidence des effets d'amorçage perceptif
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Zanesco, Samuel Antonio 1970. "Fragmentos cênicos, sensações indomáveis." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/250986.

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Orientador: Antonio Carlos Rodrigues Amorim
Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
Made available in DSpace on 2018-08-20T09:13:29Z (GMT). No. of bitstreams: 1 Zanesco_SamuelAntonio_M.pdf: 109405418 bytes, checksum: 41fdc658013f6e05b343bd4687e90663 (MD5) Previous issue date: 2012
Resumo: Essa dissertação, corpo-texto-imagem, é uma escrita potencializada pela força das imagens, que foge da interpretação para ser sentida. Visita cenas capturadas da peça teatral O Livro de Jó, encenada pela primeira vez no hospital Umberto Primo na capital paulista no início de 1995. Essas imagens, carregadas de significados e possibilidades, reverberam o contínuo movimento cênico a que se destinam e o desejo latente de se tornarem teatro pela força e pelo fluxo de sua intensidade. São imagens carregadas de dramaticidade e violência que também se aproximam da obra não menos perturbadora e pulsante do pintor irlandês Francis Bacon. Entre imagens do teatro e imagens do pintor, há uma corredeira de sensações que nos carrega, entre outros, aos franceses Artaud e Deleuze.
Abstract: This dissertation, body-text-image, is a writing which is potentiated by the strength of the images, that runs away from its performing for being felt. It visits scenes caught by the play "The Book of Job ", staged for the first time at Umberto Primo Hospital São Paulo city in the early of 1995.These images, full of meanings and possibilities, reverberate around the continuous scenic movement for which they are intended, and the strong desire of becoming theater by the force and by the flow of its intensity. They are images loaded with drama and violence that also approaching the work, not least disruptive and pulsing to the Irish painter Francis Bacon. Between the images of the theater and images of the painter, there is a strong linking of sensations that lead us, among others, to the French Artaud and Deleuze.
Mestrado
Educação, Conhecimento, Linguagem e Arte
Mestre em Educação
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Silva, Gustavo Scolfaro Caetano da 1977. "Fragmentos de corpo e sombra." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/251047.

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Orientador: Antonio Carlos Rodrigues de Amorim
Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
Made available in DSpace on 2018-08-22T14:23:02Z (GMT). No. of bitstreams: 1 Silva_GustavoScolfaroCaetanoda_M.pdf: 15183921 bytes, checksum: 8f7d2af7f3ae23408c88ae456a45cd71 (MD5) Previous issue date: 2013
Resumo: Tecido na relação entre as imagens de Kazuo Ohno, o pensamento e as palavras escritas, este texto é o desejo de um corpo novo, de uma anatomia insurgente e fugaz. Fragmentos de carne que, juntos, não compõem um organismo, mas um corpo intensivo permeado de sombras, que agenciam linhas de fuga para a composição de um pensamento de resistência sobre o corpo. Este corpo não contém uma única unidade consciente de s i mesmo; é animado por agenciamentos desejosos, que habitam e contaminam partes deste corpo: mãos, costelas, espinha, juntos e independentes, em um corpo que se desfalece e se recria na sensação, em busca de resistências, em busca de um corpo inventivo.
Abstract: Created in the relationship between the images of Kazuo Ohno, thought and written words, this text i s the desire for a new body of an insurgent and fleeting anatomy. Together, flesh fragments do not compose an organism, but an intensive body, permeated by shadows, that evokes lines of escape to compose a resistance thought about the body. This body does not contain one unity of self-conscious; desirous assemblages animate him and also inhabit and contaminate parts of body: hands, ribs, spine, together and independent in a body that faileth and self-recreate in relationship with sensation, to find resistance, to find another inventive body.
Mestrado
Educação, Conhecimento, Linguagem e Arte
Mestre em Educação
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Faria, Giuliana Ragusa de. "Imagens de Afrodite: variações sobre a deusa na mélica grega arcaica." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-21012009-162241/.

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Centrado em dezessete fragmentos da mélica grega arcaica (final do século VII a meados do VI a.C.), este trabalho consiste no estudo da representação de Afrodite nos poetas Álcman, Alceu, Estesícoro, Íbico e Anacreonte. Desse modo, esta tese de doutoramento dá continuidade à dissertação de mestrado já publicada em livro, na qual realizei o mesmo estudo em catorze fragmentos mélicos de Safo (c. 630 - 580 a.C.). Com o recorte agora realizado, o retrato da deusa torna-se ainda mais multifacetado neste que é um dos gêneros poéticos mais importantes da literatura grega antiga, a mélica. Na busca de apreender os movimentos executados nos desenhos de Afrodite pelos cinco poetas mélicos do corpus desta tese, privilegiei a análise interpretativa dos fragmentos sem perder de vista elementos provenientes de outros gêneros poéticos, da iconografia e de registros extraliterários. Procurei, assim, superar, na medida do possível, a precariedade material mais ou menos acentuada das canções fragmentárias e dar conta de uma personagem que não pertence exclusivamente à poesia, mas também a outros gêneros artísticos, à história e à religião gregas.
Concentrated on seventeen fragments of the archaic Greek melic poetry (end of 7th to the middle of 6th centuries B.C.), this work consists in the study of Aphrodites representation in the songs of Alcman, Alcaeus, Stesichorus, Ibycus and Anacreon. Thus, the present graduation thesis gives sequence to the Masters dissertation that has already been published as a book, and in which fourteen melic fragments of Sappho (c. 630 - 580 B.C.) are studied according to the same approach. Now, in this work, the goddesss portrait is even more enhanced in its multiple aspects, despite being fragmented, and inserted in one of the most important genres of ancient Greek literature set within a specific historic period. In the effort to apprehend the movements executed in the drawings of Aphrodite by the five poets in the corpus of this thesis, I have favored the interpretative analysis of the fragments without overlooking the elements originated from other poetic genres, iconographic tradition and extra-literary records. By doing so, I have attempted to overcome, as much as possible, the precariousness of the material, somewhat more or less evident in the fragmented songs, and to understand in-depth a divine character that is not confined to poetry, but pertains to other artistic genres, as well as to Greek history and religion.
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Rodríguez, Rodríguez Medina Azahara. "Análisis de Sistemas Magnéticos Aplicados a Uniones de Fragmentos." Doctoral thesis, Universitat Politècnica de València, 2017. http://hdl.handle.net/10251/90522.

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From ancient times, humans have had the need to repair tools with the aim of keeping using them. In the same way, the need for repairing ark work has been present along the History, to return the integrity of the pieces. The repairing procedures have evolved from the antiquity to present time. Following these premises, this doctoral thesis proposes the study and optimization of a joining method of fragments using magnetic systems. In this sense, it is proposed a joining method easy to implement that combines Material Physics and Conservation and Restoration of Sculpture and Ornaments. This method is presented as an alternative to the use of structural adhesives. It is reversible, little invasive and respectful with the original artwork, allowing new intervention criteria, viable in the field of Cultural Heritage. The main obtained result has been the development of a new theoretical model that allows determining the optimal distribution of the magnetic forces in the surface of the joining junction, making possible to stabilize it. In the experimental part of this thesis, the different materials, procedures and instrumental employed, are exposed. The model and results have been applied to real cases. As a main conclusions, the study reveals the viability of the use of magnetic systems in the joining of prosthesis and/or fragments in art pieces.
Desde sus orígenes, el hombre ha tenido la necesidad de reparar utensilios con el fin de seguir usándolos. De igual modo, en las obras de arte esta intención de reparar y devolver la integridad a la pieza ha estado presente a lo largo de la Historia. Los procedimientos de reparación han evolucionado desde la Antigüedad hasta nuestros días. A raíz de estas premisas, la tesis doctoral que se presenta, plantea el estudio y la optimización de un método de unión de fragmentos mediante sistemas magnéticos. En este sentido, se propone un método de unión sencillo de usar que combina principios de Física de Materiales con criterios de Conservación y Restauración de Escultura y Ornamentos. Se planea como una alternativa al empleo de adhesivos estructurales, siendo un método reversible, poco invasivo y respetuoso con la obra de arte original, haciendo viable nuevos criterios de intervención en el ámbito del Patrimonio Cultural. El resultado ha sido el desarrollo de un modelo teórico que posibilita la predicción del comportamiento de las uniones y determina la distribución de las fuerzas magnéticas por la superficie de la junta consiguiendo estabilizarlas. En el cuerpo experimental de esta tesis se señalan los diferentes materiales, los procedimientos e instrumental empleados, aportándose unos resultados aplicables sobre casos reales. Las conclusiones fundamentales extraídas ponen de manifiesto la viabilidad del uso de sistemas magnéticos en uniones de prótesis y/o fragmentos en obras de arte.
Des dels seus orígens, l'home ha tingut la necessitat de reparar utensilis amb la finalitat de seguir usant-los. De la mateixa manera, en les obres d'art aquesta intenció de reparar i tornar la integritat a la peça ha estat present al llarg de la Història. Els procediments de reparació han evolucionat des de l'Antiguitat fins als nostres dies. Arran d'aquestes premisses, la tesi doctoral que es presenta, planteja l'estudi i l'optimització d'un mètode d'unió de fragments mitjançant sistemes magnètics. En aquest sentit, es proposa un mètode d'unió senzill d'utilitzar que combina principis de Física de Materials amb criteris de Conservació i Restauració d'Escultura i Ornaments. Es planeja com una alternativa a l'ocupació d'adhesius estructurals, sent un mètode reversible, poc invasiu i respectuós amb l'obra d'art original, fent viable nous criteris d'intervenció en l'àmbit del Patrimoni Cultural. El resultat ha estat el desenvolupament d'un model teòric que possibilita la predicció del comportament de les unions i determina la distribució de les forces magnètiques per la superfície de la junta aconseguint estabilitzar-les. En el cos experimental d'aquesta tesi s'assenyalen els diferents materials, els procediments i l'instrumental emprats, aportant-se uns resultats aplicables sobre casos reals. Les conclusions fonamentals extretes posen de manifest la viabilitat de l'ús dels sistemes magnètics en unions de pròtesis i/o fragments en obres d'art.
Rodríguez Rodríguez, MA. (2017). Análisis de Sistemas Magnéticos Aplicados a Uniones de Fragmentos [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/90522
TESIS
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Dupuy, Delphine. "Fragments d'images, images de fragments : la statuaire gravettienne, du geste au symbole." Phd thesis, Université de Provence - Aix-Marseille I, 2007. http://tel.archives-ouvertes.fr/tel-00646870.

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Ce travail pose la question du sens et de la fonction des statuettes féminines gravettiennes. L'hypothèse d'une utilisation en contexte rituel menant à la fragmentation intentionnelle des sculptures, centrale dans la recherche européenne, est testée dans cette étude. La recherche est appliquée à la série de statuettes animales et féminines de Kostienki 1.1, site gravettien de la plaine russe daté des environs de 23 000 ans avant notre ère, une des plus riches du Paléolithique supérieur avec 297 pièces sculptées dont 289 en calcaire et 8 en ivoire. La classification des pièces selon leur place dans la chaîne de fabrication (support, ébauche, pièce achevée) et leur intégrité (entière, fragmentaire, fragment), étape préalable indispensable à l'inventaire des représentations, a nécessité de développer une approche technique. Trois outils principaux ont été utilisés à cette fin : l'observation de récurrences morphologiques et techniques, la reconstitution par défaut et l'expérimentation. L'étude a permis de caractériser un système technique peu connu auparavant (la sculpture en ronde-bosse gravettienne), d'identifier de nouveaux codes de représentation distants du réalisme visuel et de remettre en question la nature fragmentaire de la majorité des représentations. Ainsi, il ne s'agit pas de la fragmentation des représentations mais de la représentation du corps féminin fragmenté. Outre le thème de la fragmentation du corps, le thème de la gestation caractérise également les représentations féminines du site. L'interprétation iconographique de ces thèmes, jointe à l'analyse des indices témoins de l'usage matériel des statuettes, mène à proposer de nouvelles hypothèses fonctionnelles pour ces pièces.
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Serfontein, Estie. "Postcolonial nomadism and the simulated self in images of fragmented identity." Diss., University of Pretoria, 2010. http://hdl.handle.net/2263/27159.

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Since the onset of postcolonialism in South Africa, cultural diversity was brought on by the political decline of cultural borders, mass-media infiltration, technological advancement and the disposition of postmodernism’s assemblage of eclectic characteristics. Within postmodern postcolonialism, cultural conditions such as diaspora, nomadism and cosmopolitanism contributed to a sense of global citizenship. As such, postcolonialism and its cultural fusion promoted a new multi-cultural, hybrid culture. In this mini-dissertation it is argued that identity is a reflection or a simulation of the social surroundings in which one exists. Just as the individual’s identity becomes a product of his/her surroundings, elements of the individual’s identity manifest within cultural spaces. Within this simulation in a hybrid and multi-cultural space, personal identity becomes a fragmented and splintered concept, which is a subconscious reaction to the diversities in the individual’s cultural surroundings; moreover, the diversity in culture also contributes to constructing a more adaptable identity from these fragments. A growing feeling of Ubuntu or tolerance for differences and oppositions that develops in multi-cultural space contributes to the argument that cultural spaces become diverse and hybrid in a postmodern eclectic era. To overcome the fragmentation in identity, the postcolonial individual unintentionally formulates a hybrid, or fusion in identity by relating to different aspects that one finds in one’s surroundings. Identity becomes a fluid concept and is ever-changing to adapt to the multiplicities of contemporary postcolonial culture. This fluidity in identity is sub-consciously achieved by adopting psychological thought processes like Nomadism and Proteanism. The process of formulation of a new eclectic and fluid identity becomes more important than the identity in itself. Therefore, the ability to have a fluid and adaptable identity becomes more important than exclusivity in one’s identity. The establishment of this fluidity in identity is not a conscious decision, but merely an autonomic process of metamorphosis that enables the postcolonial individual to maintain identity, even though his/her identity cannot be fixed.
Dissertation (MA)--University of Pretoria, 2006.
Visual Arts
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TEIXEIRA, ANDREZA DE LIMA RIBEIRO. "FRAGMENTS IN THE MIRROR: IS THE IMAGE THE SAME IMAGE?" PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2011. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=19047@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
Fragmentos no espelho: Será a imagem a mesma imagem? investiga as formas como a cidade aparece na fotografia através do estudo de dois momentos significativos das tecnologias de imagem, que são as descobertas da fotografia mecânica e da fotografia digital. O primeiro período coincide com o processo de modernização decorrente das conquistas proporcionadas pelas descobertas técnicas e científicas do final do século XVIII, e as fotografias de Paris feitas por Eugène Atget são as escolhidas para analisar a relação entre a imagem mecânica e cidade moderna. O outro momento analisado na dissertação corresponde à disseminação do uso da fotografia digital que ocorre a partir do final da década de 1980, e cuja reflexão é apoiada no ensaio Babel tales, do fotógrafo Peter Funch.
Fragments in the mirror: Is the image the same image? investigates the ways in which the city appears in photography through the study of two significant moments of the technologies of the image, the advent of mechanic photography and then of digital photography. The first period goes along the process of modernization derived from the technical and scientific findings of the end of the XVIII century and the photographies of Paris by Eugène Atget are chosen to analyse the relationship between the mechanic image and the modern city. The other moment analysed corresponds to the dissemination of digital photography starting from the end of the eighties and the reflection about it is based on the essay Babel tales from the photographer Peter Funch.
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Ebner, Bonnie. "MANY TELLING MOMENTS:THE ESSENCE OF FRAGMENTED IMAGE CULTURE." Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3376.

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My purpose in entering the UCF MFA program was to further explore and develop my passion for photography. During my time in the program, I developed my methodology--from having the traditional photography paradigm ingrained in my mind (and wanting to fit into it) to accepting and valuing my own unique process. I construct installations using diverse imagery and non-traditional presentation. In my installations, one may witness a reflection of the contemporary pace of image perception--fragmented, complex, abundant, and disordered. Together, images and their arrangements are used to create a unified piece that satisfies a new system within apparent disorder. The resulting installations summon the sensation of thinking and processing information in a new way, allowing for re-contextualization of fragmented imagery. Technology has pushed photography to evolve. Previously held traditional notions of photography as art (e.g., "single telling moment" photographs and similar subject matter) are now being confronted by a vernacular of "many telling moments". The current state of the art world is in flux, and is greatly influenced by the faster pace set by technology; I coin our new vernacular Image Culture.
M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
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Jones, Carissa P. "Phylogeography of the Livebearer Xenophallus umbratilis (Teleostei: Poeciliidae) : glacial cycles and sea level change predict diversification of a freshwater tropical fish /." Diss., CLICK HERE for online access, 2007. http://contentdm.lib.byu.edu/ETD/image/etd2205.pdf.

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Books on the topic "Images fragmentées"

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Zechner, Ingo. Bild und Ereignis: Fragmente einer Ästhetik. Wien: Turia + Kant, 1999.

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Barton, Brigid S. Fragments: Images in the art of the contemporary print. Edited by Pailhe Jeannine, Wright Rachel, and De Saisset Museum. Santa Clara: De Saisset Museum, 1994.

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Aitken, Doug. Sleepwalkers: Fragments, markings and images from the making of Sleepwalkers. New York: Princeton Architectural Press, 2010.

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Orban, Clara Elizabeth. The culture of fragments: Word and images in futurism and surrealism. Amsterdam: Rodopi, 1997.

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Barton, Brigid S. Fragments: Images in the art of the contemporary print : May 7-July 31, 1994. Edited by Pailhe Jeannine, Wright Rachel, and De Saisset Museum. Santa Clara, Calif: de Saisset Museum, Santa Clara University, 1994.

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Fragmented urban images: The American city in modern fiction from Stephen Crane to Thomas Pynchon. Frankfurt am Main: P. Lang, 1991.

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Vasconcellos, Mirna. MIS - um museu campineiro brasileiro: Sentidos e fragmentos da cidade e do Museu da Imagem e do Som de Campinas. Campinas, SP: Pontes Editores, 2012.

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Roland, Ritter, and Haus der Architektur (Graz, Austria), eds. Scattered images: Fragmente von Realitäten = fragments of realities. Graz: Haus der Architektur, 1999.

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Vivian, Bradford. Authenticity. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190611088.003.0003.

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Chapter 2 investigates a case in which large segments of the public praised a deeply suspect act of witnessing without critical scrutiny. Questions of historical authenticity (as well as authorship and authority) attend the rhetorically inventive nature of witnessing in Binjamin Wilkomirski’s fraudulent Holocaust memoir, titled Fragments. The author’s alleged childhood memories during his fictional imprisonment at Auschwitz were hailed as an instant classic in the genre for its apparent historical authenticity, and subsequently lauded with international literary awards, but historians and journalists who eventually questioned its historical accuracy proved, in the end, that the book was fake. The chapter examines why even actual Holocaust survivors celebrated Fragments as an authentic work of testimony insofar as Wilkomirski borrowed and recycled numerous tropes and images characteristic of postwar survivor memoirs, including the ethos of the survivor, fragmented memories, and recollections focused on trauma. Wilkomirski’s book illustrates potential dangers that attend the extensive public receptiveness for commonplace, and oftentimes unquestioned, tropes of authenticity in witnessing.
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Pouillaude, Frédéric. The Supporting Trace: Images and Scores. Translated by Anna Pakes. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199314645.003.0012.

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This chapter explores the modalities of work survival dependent on material traces. These traces linger in the form of fragments of pottery, inscriptions, photos, films, and also scores. The function of museums and libraries is to preserve these trace-objects and make them accessible. There is significant research to do analyzing the role of such institutions within the choreographic field and explaining the likely specificity of the dance archive. Here the chapter mentions only the significance of the project begun by Rolf de Maré during the 1930s. This project was called the “Archives Internationales de la Danse.” The chapter puts aside the general question of the dance archive and its institutional management to focus solely on the different types of restaging, revival, and reconstruction that it makes possible.
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Book chapters on the topic "Images fragmentées"

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Bulacu, Marius, and Lambert Schomaker. "Writer Style from Oriented Edge Fragments." In Computer Analysis of Images and Patterns, 460–69. Berlin, Heidelberg: Springer Berlin Heidelberg, 2003. http://dx.doi.org/10.1007/978-3-540-45179-2_57.

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Wang, Weixing. "Image Classification and Delineation of Fragments." In Computational Intelligence and Security, 887–92. Berlin, Heidelberg: Springer Berlin Heidelberg, 2005. http://dx.doi.org/10.1007/11596981_130.

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Harris, Kirsty J. "Fragmented Images of Christ in Romantic Maritime Poetry." In The Figure of Christ in the Long Nineteenth Century, 55–67. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-40082-8_4.

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Korostelev, A. P., and A. B. Tsybakov. "Optimal Image and Edge Estimation for Boundary Fragments." In Minimax Theory of Image Reconstruction, 107–27. New York, NY: Springer New York, 1993. http://dx.doi.org/10.1007/978-1-4612-2712-0_4.

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Chambers, Erin, Ellen Gasparovic, and Kathryn Leonard. "Medial Fragments for Segmentation of Articulating Objects in Images." In Association for Women in Mathematics Series, 1–15. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-77066-6_1.

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Claudino, Leonardo M. B., Antônio de P. Braga, Arnaldo de A. Araújo, and André F. Oliveira. "Unsupervised Segmentation of Text Fragments in Real Scenes." In Image Analysis and Processing – ICIAP 2005, 399–406. Berlin, Heidelberg: Springer Berlin Heidelberg, 2005. http://dx.doi.org/10.1007/11553595_49.

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Brassett, Jamie. "Atoms and Worms (Ontologies of Fragments)." In Fragmentation of the Photographic Image in the Digital Age, 129–41. New York, NY: Routledge, 2020. | Series: [Routledge history of photography]: Routledge, 2019. http://dx.doi.org/10.4324/9781351027946-10.

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Hannad, Yaâcoub, Imran Siddiqi, and Mohamed El Youssfi El Kettani. "Arabic Writer Identification Using Local Binary Patterns (LBP) of Handwritten Fragments." In Pattern Recognition and Image Analysis, 237–44. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-19390-8_27.

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Marín-Jiménez, Manuel J., Nicolás Pérez de la Blanca, and José I. Gómez. "Locating and Segmenting 3D Deformable Objects by Using Clusters of Contour Fragments." In Pattern Recognition and Image Analysis, 402–9. Berlin, Heidelberg: Springer Berlin Heidelberg, 2007. http://dx.doi.org/10.1007/978-3-540-72847-4_52.

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Paradowski, Mariusz, and Andrzej Śluzek. "Keypoint-Based Detection of Near-Duplicate Image Fragments Using Image Geometry and Topology." In Computer Vision and Graphics, 175–82. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-15907-7_22.

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Conference papers on the topic "Images fragmentées"

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Pal, A., K. Shanmugasundaram, and N. Memon. "Automated reassembly of fragmented images." In 2003 International Conference on Multimedia and Expo. ICME '03. Proceedings (Cat. No.03TH8698). IEEE, 2003. http://dx.doi.org/10.1109/icme.2003.1220995.

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Watson, Erkai, Nico Kunert, Robin Putzar, Hans-Gerd Maas, and Stefan Hiermaier. "Four-View Split-Image Fragment Tracking in Hypervelocity Impact Experiments." In 2019 15th Hypervelocity Impact Symposium. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/hvis2019-035.

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Abstract Hypervelocity impacts (HVI) often cause significant fragmentation to occur in both target and projectile materials, and is often encountered in space debris and planetary impact applications [1]–[5]. In this paper, we focus on determining the individual velocities and sizes of fragments tracked in high-speed images. Inspired by velocimetry methods such as Particle Image Velocimetry (PIV) [6] and Particle Tracking Velocimetry (PTV) [7] and building on past work [8], we describe the setup and algorithm used for measuring fragmentation data.
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Van Phan, Truyen, Hajime Baba, Akihiro Watanabe, and Masaki Nakagawa. "A re-assembling scheme of fragmented Mokkan images." In the 2nd International Workshop. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2501115.2501122.

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Karresand, Martin, and Nahid Shahmehri. "Reassembly of Fragmented JPEG Images Containing Restart Markers." In 2008 European Conference on Computer Network Defense, EC2ND. IEEE, 2008. http://dx.doi.org/10.1109/ec2nd.2008.10.

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Zicheng Liao, Ali Farhadi, Yang Wang, I. Endres, and D. Forsyth. "Building a dictionary of image fragments." In 2012 IEEE Conference on Computer Vision and Pattern Recognition (CVPR). IEEE, 2012. http://dx.doi.org/10.1109/cvpr.2012.6248085.

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Sokolova, Ekaterina A., Anatoliy P. Nyrkov, and Aleksei N. Ivanovskii. "3d Image Compression with Variable Fragments." In 2021 IEEE Conference of Russian Young Researchers in Electrical and Electronic Engineering (ElConRus). IEEE, 2021. http://dx.doi.org/10.1109/elconrus51938.2021.9396735.

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Jung, Claudio R., and Amir Said. "Object tracking using multiple fragments." In 2009 16th IEEE International Conference on Image Processing (ICIP 2009). IEEE, 2009. http://dx.doi.org/10.1109/icip.2009.5414243.

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Bai, Song, Xinggang Wang, and Xiang Bai. "Aggregating contour fragments for shape classification." In 2014 IEEE International Conference on Image Processing (ICIP). IEEE, 2014. http://dx.doi.org/10.1109/icip.2014.7026063.

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Benchebra, Dalil, Nader Anani, Prasad Ponnapalli, and Abdel-Razzak Natsheh. "A new algorithm for completing fragmented boundaries in images." In 2010 7th International Symposium on Communication Systems, Networks & Digital Signal Processing (CSNDSP 2010). IEEE, 2010. http://dx.doi.org/10.1109/csndsp16145.2010.5580326.

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Al-Sadi, Azzat, Manaf Bin Yahya, and Ahmad Almulhem. "Identification of image fragments for file carving." In 2013 World Congress on Internet Security (WorldCIS). IEEE, 2013. http://dx.doi.org/10.1109/worldcis.2013.6751037.

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