Relevant bibliographies by topics / Mirror images

Contents

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

Academic literature on the topic 'Mirror images'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Mirror images.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Mirror images"

1

Herald, Kaitlin J., and Daniel A. Tolpin. "Images in Anesthesiology: Mirror Image." Anesthesiology 126, no. 1 (January 1, 2017): 163. http://dx.doi.org/10.1097/aln.0000000000001250.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Raven, Arlene, and Frances Borzello. "Mirror Images." Women's Review of Books 16, no. 4 (January 1999): 6. http://dx.doi.org/10.2307/4023103.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Donahue, Arwen, Julia Epstein, and Lori Hope Lefkovitz. "Mirror Images." Women's Review of Books 19, no. 4 (January 2002): 20. http://dx.doi.org/10.2307/4023843.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Williamson, H. G. M. "Mirror Images." Expository Times 117, no. 1 (January 2005): 19–21. http://dx.doi.org/10.1177/0014524605058720.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Doody, Timothy John. "Mirror Images." Journal of Pastoral Care & Counseling: Advancing theory and professional practice through scholarly and reflective publications 64, no. 1 (March 2010): 1. http://dx.doi.org/10.1177/154230501006400114.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Lackenbauer, P. Whitney. "Mirror Images?" International Journal: Canada's Journal of Global Policy Analysis 65, no. 4 (December 2010): 879–97. http://dx.doi.org/10.1177/002070201006500417.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

McClintock, P. V. E. "Mirror images." Nature 345, no. 6274 (May 1990): 396. http://dx.doi.org/10.1038/345396a0.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Sisson, George M. "Mirror images." Vistas in Astronomy 35 (January 1992): 345–97. http://dx.doi.org/10.1016/0083-6656(92)90001-m.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

BENEDEK, ELISSA P. "Mirror Images." American Journal of Psychiatry 142, no. 12 (December 1985): 1502. http://dx.doi.org/10.1176/ajp.142.12.1502.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Desjardins, Julie K., and Russell D. Fernald. "What do fish make of mirror images?" Biology Letters 6, no. 6 (May 12, 2010): 744–47. http://dx.doi.org/10.1098/rsbl.2010.0247.

Full text
Abstract:
Fish act aggressively towards their mirror image suggesting that they consider it another individual, whereas in some mammals behavioural response to mirrors may be an evidence of self-recognition. Since fish cannot self-recognize, we asked whether they could distinguish between fighting a mirror image and fighting a real fish. We compared molecular, physiological and behavioural responses in each condition and found large differences in brain gene expression levels. Although neither levels of aggressive behaviour nor circulating androgens differed between these conditions, males fighting a mirror image had higher immediate early gene (IEG) expression in brain areas homologous to the amygdala and hippocampus than controls. Since amygdalar responses are associated with fear and fear conditioning in other species, higher levels of brain activation when fighting a mirror suggest fish experience fear in response to fights with a mirror image. Clearly, the fish recognize something unusual about the mirror image and the differential brain response may reflect a cognitive distinction.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Mirror images"

1

Ambrosio, Jeanie. "Mirror Images: Penelope Umbrico’s Mirrors (from Home Décor Catalogs and Websites)." Scholar Commons, 2018. https://scholarcommons.usf.edu/etd/7466.

Full text
Abstract:
As the artwork’s title suggests, Penelope Umbrico’s "Mirrors (from Home Décor Catalogs and Websites)" (2001-2011), are photographs of mirrors that Umbrico has appropriated from print and web based home décor advertisements like those from Pottery Barn or West Elm. The mirrors in these advertisements reflect the photo shoot constructed for the ad, often showing plants or light filled windows empty of people. To print the "Mirrors," Umbrico first applies a layer of white-out to everything in the advertisement except for the mirror and then scans the home décor catalog. In the case of the web-based portion of the series, she removes the advertising space digitally through photo editing software. Once the mirror has been singled out and made digital, Umbrico then adjusts the perspective of the mirror so that it faces the viewer. Finally, she scales the photograph of the mirror cut from the advertisement to the size and shape of the actual mirror for sale. By enlarging the photograph, she must increase the file size and subsequent print significantly, which distorts the final printed image thereby causing pixelation, otherwise known as “compression artifacts.” Lastly, she mounts these pixelated prints to non-glare Plexiglas both to remove any incidental reflective surface effects and to create a physical object. What hangs on the wall, then, looks like a mirror in its shape, size and beveled frame: the photograph becomes a one-to-one representation of the object it portrays. When looking at a real mirror, often the viewer is aware of either a reflection of the self or a shifting reflection caused by his or her own movement. However, the image that the "Mirror" ‘reflects’ is not the changing reflection of a real mirror. Nor is it a clear, fixed image of the surface of a mirror. Instead the "Mirrors" present a highly abstract, pixelated surface to meet our eyes. The "Mirrors" are physical objects that merge two forms of representation into one: the mirror and the photograph, thus highlighting similarities between them as surfaces that can potentially represent or reflect almost anything. However, in their physical form, they show us only their pixelation, their digitally constructed nature. Penelope Umbrico’s "Mirrors" are photographs of mirrors that become simultaneously photograph and mirror: the image reflected on the mirror’s surface becomes a photograph, thus showing an analogy between the two objects. In their self-reflexive nature, I argue that Umbrico’s "Mirrors" point to their status as digital photographs, therefore signaling a technological shift from analog to digital photography. Umbrico’s "Mirrors," in altering both mirrors and photographs simultaneously refer to the long history of photography in relation to mirrors. The history of photography is seen first through these objects by the reflective surface of the daguerreotype which mirrored the viewer when observing the daguerreotype, and because of the extremely high level of detail in the photographic image, which mirrored the photographic subject. The relation to the history of photography is also seen in the phenomenon of the mirror within a photograph and the idea that the mirror’s reflection shows the realistic way that photographs represent reality. Craig Owens calls this "en abyme," or the miniature reproduction of a text that represents the text as a whole. In the case of the mirror, this is because the mirror within the photograph shows how both mediums display highly naturalistic depictions of reality. I contend that as an object that is representative of the photographic medium itself, the shift from analog to digital photography is in part seen through the use of the mirror that ultimately creates an absent referent as understood through a comparison of Diego Velázquez’s "Las Meninas" (1656). As Foucault suggests that "Las Meninas" signals a shift in representation from the Classical age to the Modern period, I suggest that the "Mirrors" signal the shift in representation from analog to digital. This latter shift spurred debate among photo history scholars related to the ontology of the photographic medium as scholars were anxious that the ease of editing digital images compromised the photograph’s seeming relationship to truth or reality and that it would be impossible to know whether an image had been altered. They were also concerned with the idea that computers could generate images from nothing but code, removing the direct relationship of the photograph to its subject and thereby declaring the “death” of the medium. The "Mirrors" embody the technological phenomenon with visual addition of “compression artifacts,” otherwise known as pixelation, where this representation of digital space appears not directly from our own creation but as a by-product of digital JPEG programming. In this way they are no longer connected to the subject but only to the digital space they represent. As self-reflexive objects, the "Mirrors" show that there has been a technological transformation from the physically made analog photograph to the inherently mutable digital file.
APA, Harvard, Vancouver, ISO, and other styles
2

MAGID, DIANE ALEXIS. "FRAMES OF REFERENCE, THE PERCEPTION OF SYMMETRY AND THE MIRROR ILLUSION (ENANTIOMORPHS)." Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/188154.

Full text
Abstract:
The relationship between symmetry and apparent reversals of enantiomorphic (mirror-reflected) objects was investigated. Subjects were presented with a series of standard and enantiomorphic books with various structural symmetries. The object directions (top-front-right) assigned to standard books were compared with the directions assigned to their enantiomorphs and the axes of apparent reversal determined. The primary finding was that apparent reversals were not limited to the left-right dimension. Reversals of top-bottom and front-back were also obtained. In most cases, apparent reversals occurred along the axis of structural (geometric) symmetry. However, symmetry defined in structural terms did not always predict apparent reversals. In certain cases, subjects perceived reversals most often along the left-right axis, even though (depending on the book) reversals of top-bottom or front-back were equally possible. The concept of perceived symmetry, which includes but is not limited to structural symmetry, is developed. Also, the influence of perceived symmetry on frames of reference is discussed.
APA, Harvard, Vancouver, ISO, and other styles
3

Long, Tristan Amik Francis. "Of mice, mothers and mirror-images, testing relationships between asymmetry and fecundity." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ61920.pdf.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Kim, Nan-Tsung A. "The neighbour as mirror : images of Korea in Chinese writings 1876-1931." Thesis, SOAS, University of London, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369555.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Serani, Ugo. "Playwrights and their public : mirror images; a meta-prospective analysis of Gil Vicente's theatre." Thesis, King's College London (University of London), 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267745.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Sandison, Jennifer Madden. "Reflections of self : the mirror image in the work of Virginia Woolf." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=64108.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Brightwell, Erin Leigh. ""The Mirror of China"| Language selection, images of China, and narrating Japan in the Kamakura period (1185-1333)." Thesis, Princeton University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3626441.

Full text
Abstract:

"Kara kagami" (The Mirror of China) is something of an enigma—only six of an original ten scrolls survive, and there is no critical edition with comprehensive annotation or previous translation. A work composed for Imperial Prince-cum-Shogun Munetaka by the scion of a distinguished line of Confucian scholars, Fujiwara no Shigenori, on a topic of pressing interest in the thirteenth century—the fate of Continental China—it embodies many of the characteristic concerns of Kamakura Japan. Tensions between privatization and circulation of learning, imperial and warrior authority, Japan's envisioning of China and her relations thereto, as well as a larger cosmological narrative all run through the work. Yet they do so ways that challenge now long-held ideas of language, stance towards the Continent and its traditions, and narratives of generic development and resistance.

This dissertation explores the ways in which "The Mirror of China" defies familiar-yet-passé conceptions of medieval Japan. It examines afresh how three issues in medieval discourse—language selection, portrayals of China, and narrating Japan—are refracted in "The Mirror of China" in order to better understand text-based claims of political, cultural, and philosophical authority. "The Mirror of China"'s linguistically diverse manuscripts invite question of the worldviews or allegiances of identity a multilingual text can intimate. Its depiction of China and the implied narratives such a vision creates likewise differ markedly from those of contemporary works. And lastly, the linguistic and thematic innovation it brings to the Heian genre of "Mirror" writing marks a previously obscured turning point in medieval historiographic writing, one that allows an appreciation of the genre as a medieval experiment in crafting histories as legitimating narratives. Drawing on multiple understudied works in addition to better-known writings, this dissertation provides a new understanding of how medieval thinkers exploited languages, images, and traditions in order to create their own visions of authority.

APA, Harvard, Vancouver, ISO, and other styles
8

Park, Sung-Kwon. "The Body in the Mirror: Re-imagining the Hyper-real Experience through Classical Sculpture." Thesis, Griffith University, 2007. http://hdl.handle.net/10072/366282.

Full text
Abstract:
The definition of the body is uncertain within contemporary culture. This ‘body’ in question is ‘characterised’ by the pervasive and ubiquitous images of our visual culture, where mass media and advanced visual technology have created a highly simulated world. In this simulated world, the body is doubled. In this exegesis, I attempt to explore what the body means in contemporary visual culture by questioning and examining body image and its impact on our ideas of the body. I draw upon Baudrillard’s notion of ‘ hyper-reality’ and have applied it to the body image. This has resulted in my statement that contemporary (body) images in their own right, exterminating the original (body). From this, the notion of ‘the body in hyper-reality’ was formed and became a key concept for this exploration. In my visual practice, I conceived the idea of juxtaposing the contemporary body image with the classical statue through making an analogy between Baudrillard’s critique of contemporary images and early Christianity’s prohibition of the graven image. By combining the idea with my previous research tool of ‘critical illusion/ambiguity’ (a strategy where illusion or ambiguity is systematically arranged to draw the viewer’s attention and lead them to mediating on a certain issue), I conjured up a strategic device called ‘tactical disguise’ where contemporary body images merge into classical sculptures, pretending to be them. Through this process of disguising, I attempt to place the contemporary body images in the theatrical past, attaining a critical distance, at the same time drawing out discourses arising from the ironic juxtaposition of the two. Centreing upon this key strategy, my visual practice explored issue such as celebrity culture and idolatry, mass media and voyeurism, the ideal body, surveillance culture, simulation and the body, body image as commodity by experimenting with different types of body image as the subject for statues: images of famous, anonymous, ordinary or simulated bodies. An attempt to evoke the notion of the body in hyper-reality through visual practice was crystallised in the work, In search of Russell Crowe. In this work, the sculptural object’s interplay with other mediums such as video, performance, and photographs, brought an experimental aspect to the work, increasing the coherence and impact of my studio practice. This at the same time opened up a potential derived from the expansion of medium employed.
Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Full Text
APA, Harvard, Vancouver, ISO, and other styles
9

Chantoiseau, Jean-Baptiste. "Déjouer la transgression : du dandysme au terrorisme des images littéraires, plastiques et cinématographiques." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030133.

Full text
Abstract:
Les représentations artistiques de la transgression aux XXe et XXIe siècles offrent souvent au regard un spectacle violent et macabre. Son intensité attesterait l’existence d’une "pulsion de mort" (Freud, 1920) tout comme elle scellerait ce lien entre l’érotisme et la mort dépeint par Georges Bataille. Déjouer un tel "terrorisme de la transgression", qui épuise aussi bien l’œuvre que son spectateur, invite à démasquer le conformisme et les falsifications de telles entreprises. Aux antipodes de ces postures, existent d’autres manières d’envisager la transgression en art afin de faire de celle-ci l’occasion d’un questionnement en profondeur, ébranlant toute certitude. Ce « dandysme de la transgression » engage un travail formel intense. L’analyse d’un vaste corpus, aussi bien littéraire (Wilde, Barbey d’Aurevilly, Bataille, Genet…) plastique (Blake, Cocteau…) que cinématographique (Visconti, Bresson…), révèle un spectre de stratégies visant à jouer, affronter ou dépasser la transgression. Seule une attention aiguë portée aux spécificités de ces univers artistiques permet le dévoilement de trajectoires singulières, aux enjeux opposés : là où l’émergence de la transgression pose parfois problème (Bresson), c’est ailleurs dans l’impossibilité de lui échapper que réside le drame (Lynch). À y regarder de plus près, le secret de l’esthétique et de l’éthique des œuvres, à l’ère contemporaine, se déchiffrerait tout particulièrement dans l’observation du sort réservé aux limites et aux interdits. Doit aussi être soutenue la thèse d’un rôle central non plus d’une hypothétique "pulsion de mort" mais de l’inceste au cœur de toute démarche transgressive authentique
Artistic portrayals of transgression in the 20th and 21st centuries often present a violent, macabre spectacle. Its intensity would appear to simultaneously attest to a "death wish" (Freud, 1920) and forge a link between eroticism and death as depicted by Georges Bataille. Thwarting such "transgression terrorism", which exhausts both the work and the spectator, is an invitation to unmask the conformism and falsification involved in such endeavours. At the opposite extreme to these approaches exist other manners of envisaging transgression in art that seek to use it as an occasion for in-depth questioning or to shatter certitudes. This "transgression dandyism" involves intensive formal work. Analysis of a vast corpus, at once literary (Wilde, Barbey d’Aurevilly, Bataille, Genet…), plastic (Blake, Cocteau…) and cinematographic, reveals an array of strategies aiming to play on, confront or transcend transgression. Only on examination of the particularities of these artistic universes do singular trajectories with antithetical goals become manifest: whereas for one creative mind the emergence of transgression occasionally presents a problem (Bresson), for another the drama resides in the impossibility of escaping it (Lynch). On closer scrutiny, the secret of aesthetics and ethics in contemporary works might be elucidated by observing the fate reserved for limits and taboos. That the central role in any authentic transgressive approach is no longer played by a hypothetical "death wish" but by incest is also tenable
APA, Harvard, Vancouver, ISO, and other styles
10

Nijhuis, Marta. "Le voile prismatique. Éléments pour une théorie libidinale des images." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA091/document.

Full text
Abstract:
Cette recherche est le résultat d’un montage d’images issues de l’art contemporain, du cinéma et de la publicité avec des théories philosophiques, suivant le fil rouge déroulé par deux figures esthétiques qui ont traditionnellement été liées à la notion d’image : le miroir et le voile.Il en émerge une figure esthétique inédite : le voile prismatique. À cheval entre miroir et voile, le voile prismatique entraîne une lecture anti-dualiste du monde du visible inspirée de la chair merleau-pontienne entendue comme tissu différentiel dans lequel chaque chose et chaque être ne se donnent que comme différences par rapport aux autres choses et aux autres êtres.Dans le voile prismatique, la notion de chair est filtrée à travers celle, deleuzienne, d’« image-cristal », et ainsi enrichie d’une temporalité facettée et multiple faisant écho à la lecture de l’éternel retour de Nietzsche selon Deleuze et lui donnant par là une fondamentale tonalité libidinale, qui dans cette étude est analysée avec une référence particulière à Lacan.La temporalité de l’image-cristal, réagissant avec la notion merleau-pontienne de chair et avec la temporalité mythique que Merleau-Ponty lui associe, fait surgir la figure du voile prismatique comme une sorte de « chair 2.0 », réalisant ainsi un outil théorique contemporain, en mesure d’aider à la compréhension du caractère toujours plus immersif et enveloppant de l’expérience actuelle des images, y compris les implications que celle-ci comporte au niveau de l’identité de celui qui regarde et de la perception de la vérité liée à son regard. Cela, sans jamais oublier l’aspect de séduction qui caractérise l’univers visuel, ainsi confirmant le lien intime qui entrelace images et désir
This research is the outcome of a montage intertwining contemporary art, film, and advertisement images with philosophical theory, following the direction set by two aesthetic figures that have traditionally been related to the notion of image, namely the mirror and the veil.What emerges is an unprecedented aesthetic figure, i. e., the prismatic veil, which, bouncing between the mirror and the veil, brings along an anti-dualistic interpretation of the world of the visible inspired by the Merleau-Pontian notion of flesh understood as a differential fabric in which things and beings only give themselves as differences with respect to all other things and beings.In the prismatic veil, the flesh is filtered through the Deleuzian notion of « crystal-image », and hence enriched with a faceted and multiple temporality that echoes Deleuze’s own reading of Nietzsche’s eternal return, and hence characterising it with a fundamental libidinal approach, which, in this study, is analysed with a particular emphasis on Lacan.By reacting to the Merleau-Pontian notion of flesh and to the mythical temporality that Merleau-Ponty himself associates to it, the temporality of the crystal-image makes the figure of the prismatic veil emerge as a sort of « flesh 2.0 », hence realising a contemporary theoretical tool aiming at favouring the understanding of the increasingly immersive and enveloping features of the present experience of images, including the implications that such an experience implies as for the identity of the viewer and for the perception of truth that is bond to his/her/their gaze. All this, without forgetting the aspect of seduction that characterises the visual universe, and hence confirming the intimate connection that intertwines images and desire
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Mirror images"

1

Sexton, Linda Gray. Mirror images. Garden City, N.Y: Doubleday, 1985.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Riera, Carme. Mirror images. New York: P. Lang, 1993.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Sexton, Linda Gray. Mirror images. London: Macdonald, 1985.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Agius, Joseph. Mirror images. Castleford: [Write Lines in Print], 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Machin, Anne Marie. Mirror images: Reading and writing arguments. New York: Pearson/Longman, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Diana, Silberman-Keller, ed. Mirror images: Popular culture and education. New York: P. Lang, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Nibbrig, Christiaan L. Hart. Spiegelschrift: Spekulationen über Malerei und Literatur. Frankfurt am Main: Suhrkamp, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Adam, David. Mirror images: Seeing ourselves in othe people. London: SPCK, 2007.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Clair, Reason, ed. Mirror images: New reflections on teacher leadership. Thousand Oaks, Calif: Corwin Press, 2011.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Whitney, Chadwick, and Ades Dawn, eds. Mirror images: Women, surrealism, and self-representation. Cambridge, Mass: MIT Press, 1998.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Mirror images"

1

Wolosky, Shira. "Mirror Images." In The Riddles of Harry Potter, 99–126. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230115576_5.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Pissis, Nikolas. "Mirror Images." In Apocalypse Now, 245–60. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003081050-14.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Steiner, Evgeny. "Chapter 8. Mirror images." In Children's Literature and the Avant-Garde, 189–214. Amsterdam: John Benjamins Publishing Company, 2015. http://dx.doi.org/10.1075/clcc.5.09ste.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Kukkonen, Karin. "Chapter 3. The map, the mirror and the simulacrum." In Images in Use, 55–67. Amsterdam: John Benjamins Publishing Company, 2011. http://dx.doi.org/10.1075/dapsac.44.05kuk.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Arnspang, Jens, Henrik Nielsen, Morten Christensen, and Knud Henriksen. "Using mirror cameras for estimating depth." In Computer Analysis of Images and Patterns, 711–16. Berlin, Heidelberg: Springer Berlin Heidelberg, 1995. http://dx.doi.org/10.1007/3-540-60268-2_369.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Capshaw, Katharine. "Chapter 12. The mirror and multiplicity." In Children’s Literature, Culture, and Cognition, 274–96. Amsterdam: John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/clcc.17.12cap.

Full text
Abstract:
Black creators in the 1970s used the photographic picturebook to recreate black identity and history. Whether tethering images to the logic of the alphabet, as do Yusef Iman and Jean Carey Bond, or deploying images to disrupt narratives of American history, as do Toni Morrison and June Jordan, creators recognized the multiple aesthetic and political possibilities engendered by an assemblage of images. The photograph seeks to mirror by fixing places and people on the page; and some narratives productively pull against closure, embracing instead the ongoing process of knowing black history through interpreting the sequence of photographs.
APA, Harvard, Vancouver, ISO, and other styles
7

Spitzack, Carole. "The Confession Mirror: Plastic Images for Surgery." In The Hysterical Male, 57–68. London: Macmillan Education UK, 1991. http://dx.doi.org/10.1007/978-1-349-12532-6_5.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Salomaa, Arto. "Undecidability of State Complexities Using Mirror Images." In Lecture Notes in Computer Science, 221–35. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-31644-9_15.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Airaksinen-Monier, Katja. "Mirror Writing in Devotional Texts and Images." In Words in the Middle Ages / Les Mots au Moyen Âge, 229–51. Turnhout, Belgium: Brepols Publishers, 2020. http://dx.doi.org/10.1484/m.usml-eb.5.120730.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Bedjaoui, Ahmed. "Dream and Hope in Images: Algeria, Mirror Image of Its Cinema." In Cinema and the Algerian War of Independence, 73–99. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-37994-0_4.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Mirror images"

1

Louie, Jonathan, and Nicole McIntosh. "Mirror Images." In 108th Annual Meeting Proceedings. ACSA Press, 2020. http://dx.doi.org/10.35483/acsa.am.108.44.

Full text
Abstract:
Somewhere near the surface of the glass and silver nitrate, a mirror’s image optically responds to a human observers’ movements, reflecting the environment based on the viewers position. As the viewer approaches the mirror, its’ appearance opens up a wider and deeper view of the room. It magnifies the image recognized by the perceiver and visually reflects the three-dimensional scene atop its flat surface. Nearly 40 years after Dan Grahams’ written reflections on the mental and visual appearance of the mirror image,1 the design for All Square, a restaurant and non-profit in Minneapolis, expands this interest. The name “All Square” is a reference to the notion that those who have paid their debts to society are square and free to move forward with a clean slate, as well as a nod to the shape of the fast-casual restaurant’s signature dish. The grill cheese eatery offers its formerly incarcerated employees a professional¬- development fellowship in addition to a living wage. To give the non-profit mission and branding of All Square a physical presence, the project uses the name and motif of the ‘Square’ as the starting point and repeats it at varying dimensions throughout the space. The square is materialized as mirrors and aluminum frames to form thresholds that divide and unify the large room.
APA, Harvard, Vancouver, ISO, and other styles
2

Nilsson, Thomy H. "The pinhead mirror: a previously undiscovered imaging device?" In OSA Annual Meeting. Washington, D.C.: Optica Publishing Group, 1986. http://dx.doi.org/10.1364/oam.1986.wg39.

Full text
Abstract:
A focused image of the sun was noted under circumstances which suggested that the image was due to a tiny mirror operating in a manner analogous to a pinhole lens. It seemed appropriate to call this hypothetical device a pinhead mirror. Some tiny, flat mirrors were made and tested. They produced dim, inverted images of varying quality at various object and image distances. The 0.3-mm mirror produced the sharpest image. When this mirror was 45 mm from the object its image appeared in focus at 100 to beyond 1300-mm distances. These operating characteristics are similar to those predicted for a pinhole lens. This suggests that pinhead mirrors and pinhole lenses obey similar principles of geometric optics. Perhaps the pinhead mirror's special ability to change the direction of light while simultaneously restoring its original topology to various magnifications with great depth of field will prove useful in optical computing or integrated optical devices.
APA, Harvard, Vancouver, ISO, and other styles
3

Seely, J. F., G. E. Holland, and J. V. Giasson. "High-Resolution Imaging of Laser-Produced Plasmas at a Wavelength of 130Å using a Normal Incidence Multilayer-Mirror Microscope." In Soft X-Ray Projection Lithography. Washington, D.C.: Optica Publishing Group, 1993. http://dx.doi.org/10.1364/sxray.1993.tua.6.

Full text
Abstract:
Laser-produced plasmas were recently imaged at a wavelength of 44 Å using a spherical multilayer-coated mirror operating near normal incidence, and emission features were recorded with a spatial resolution of 40 μm.1 In order to produce images with better resolution, we have developed a microscope consisting of two spherical mirrors in a Cassegrain-type optical configuration. Spherical optical figure was chosen because of the demonstrated low surface roughness and high optical figure accuracy of previously fabricated mirrors. The spherical aberrations of the concave primary mirror and the convex secondary mirror tend to cancel, and the radii of curvature of the two mirrors and the mirror separation were chosen to minimize the overall spherical aberration of the optical system.
APA, Harvard, Vancouver, ISO, and other styles
4

Diver, Richard B., and Timothy A. Moss. "Practical Field Alignment of Parabolic Trough Solar Concentrators." In ASME 2006 International Solar Energy Conference. ASMEDC, 2006. http://dx.doi.org/10.1115/isec2006-99146.

Full text
Abstract:
In this paper a new technique for parabolic trough mirror alignment based on the use of an innovative Theoretical Overlay Photographic (TOP) approach is described. The technique is a variation on methods used to align mirrors on parabolic dish systems. It involves overlay of theoretical images of the Heat Collection Element (HCE) in the mirrors onto carefully surveyed photographic images and adjustment of mirror alignment until they match. From basic geometric principles, for any given viewer location the theoretical shape and location of the reflected HCE image in the aligned mirrors can be predicted. The TOP approach promises to be practical and straightforward and inherently aligns the mirrors to the HCE. Alignment of an LS-2 mirror module on the rotating platform at the National Solar Thermal Test Facility (NSTTF) with the TOP technique along with how it might be implemented in a large solar field is described. Comparison of the TOP alignment to the distant observer approach on the NSTTF LS-2 is presented and the governing equations used to draw the theoretical overlays are developed. Alignment uncertainty associated with this technique is predicted to be less than the mirror slope error.
APA, Harvard, Vancouver, ISO, and other styles
5

Tomac, Mehmet N., Kevin Yugulis, and James W. Gregory. "Investigation of Side-View Mirror Flow-Induced Vibration Phenomena." In ASME 2010 3rd Joint US-European Fluids Engineering Summer Meeting collocated with 8th International Conference on Nanochannels, Microchannels, and Minichannels. ASMEDC, 2010. http://dx.doi.org/10.1115/fedsm-icnmm2010-30887.

Full text
Abstract:
The primary objective of this research is to develop an understanding of the flow mechanisms which induce side-view mirror vibrations. The unsteady nature of the flow over side-view mirrors causes unsteady aerodynamic load distributions and flow-induced vibrations on the mirror assembly. These vibrations generate blurred rear-view images and higher noise levels, affecting the safety and comfort of the passengers. Geometrical design features of side-view mirrors exacerbate the flow-induced vibration levels of the mirror assembly significantly. This work quantifies the impact of these design features on the vibration amplitude; develops a methodology for testing mirror vibrations in a small, low-speed wind tunnel using only the mirror of interest; and delves into the interactions between the bluff body mirror geometry and its wake. Two similar side-view mirror designs, a baseline design and a turn-signal design, were investigated. The baseline mirror has a sharp-edged corner near the trailing edge, while the turn-signal design has an edge with an increased radius of curvature for the tip profile. A laser-based vibration measurement technique was developed and used to quantify vibration levels. Flow visualization, Particle Image Velocimetry (PIV), Constant Temperature Anemometry (CTA), and Surface Stress Sensitive Film (S3F) techniques were used to understand the separation characteristics over the mirrors since the time-dependent changes in separation location directly affect the unsteady loading on the mirror. The flow over the turn signal mirror with larger tip radius has larger excursions in the separation location, a wider wake, increased unsteadiness, and higher vibration levels. Results at the high Reynolds numbers for these test conditions indicate the absence of a discrete vortex shedding frequency. However, vortical structures in the wake are correlated with unsteady movement of the separation location.
APA, Harvard, Vancouver, ISO, and other styles
6

Ainouz, Samia, Olivier Morel, Nicolas Walter, and David Fofi. "Mirror-adapted matching of catadioptric images." In 2008 15th IEEE International Conference on Image Processing. IEEE, 2008. http://dx.doi.org/10.1109/icip.2008.4711753.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Kitao, Takehiro, and Takao Miura. "Fast Reinforcement Learning by Mirror Images." In 2016 IEEE/WIC/ACM International Conference on Web Intelligence (WI). IEEE, 2016. http://dx.doi.org/10.1109/wi.2016.0117.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Mestetskiy, L., and A. Zhuravskaya. "Mirror Symmetry Detection in Digital Images." In 15th International Conference on Computer Vision Theory and Applications. SCITEPRESS - Science and Technology Publications, 2020. http://dx.doi.org/10.5220/0008976003310337.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Pruidze, D. V., J. C. Ricklin, D. G. Voelz, and M. A. Vorontsov. "Adaptive Correction of Phase-Distorted Extended Source Images: Experimental Results." In Adaptive Optics. Washington, D.C.: Optica Publishing Group, 1996. http://dx.doi.org/10.1364/adop.1996.athb.3.

Full text
Abstract:
We demonstrate a new type of adaptive imaging system capable of improving the quality of phase-distorted images of extended objects. The operational algorithm was based on optimization of the spectral image quality criteria suggested in [1]. For adaptive control of the nine-electrode semi-passive bimorph mirror we used gradient optimization algorithms. To introduce slowly varying large scale phase distortions into the imaging system a second deformable mirror with computer control was used. Small scale phase distortions were created using the nonlinear optics technique described in [2]. Image quality criteria were measured using the optical image quality analyzer described in [1].
APA, Harvard, Vancouver, ISO, and other styles
10

Bermudez-Cameo, J., G. Lopez-Nicolas, and J. J. Guerrero. "Line-Images in Cone Mirror Catadioptric Systems." In 2014 22nd International Conference on Pattern Recognition (ICPR). IEEE, 2014. http://dx.doi.org/10.1109/icpr.2014.363.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Reports on the topic "Mirror images"

1

Blacklow, Stephen C. Drug Discovery for Breast Cancer by Mirror-Image Display. Fort Belvoir, VA: Defense Technical Information Center, July 2003. http://dx.doi.org/10.21236/ada418720.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Swanson, N. L., and M. E. Stefanov. Real-Time Image Subtraction Using a Double-Phase Conjugate Mirror. Fort Belvoir, VA: Defense Technical Information Center, November 1998. http://dx.doi.org/10.21236/ada361502.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Bajt, S. LCLS soft x-ray imager mirrors and their performance. Office of Scientific and Technical Information (OSTI), October 2007. http://dx.doi.org/10.2172/922319.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Mirror images' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography