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Ambrosio, Jeanie. "Mirror Images: Penelope Umbrico’s Mirrors (from Home Décor Catalogs and Websites)." Scholar Commons, 2018. https://scholarcommons.usf.edu/etd/7466.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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"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.
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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.
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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
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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.
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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 authentiqueArtistic 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
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Nijhuis, Marta. "Le voile prismatique. Éléments pour une théorie libidinale des images." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA091/document.
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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 désirThis 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
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Dahlin, Sanna, and Henrik Fagerlund. "Mechanical Mirror." Thesis, KTH, Mekatronik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-296234.
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This bachelor thesis aims to present an overview of the performed steps to construct and program a prototype of a mechanical mirror. The idea of a mechanical mirror is that a camera captures an image that is translated into pixels of different brightness values. The brightness values are later displayed by metal plates, acting as pixels, rotated to different angles to reflect a corresponding light from a lamp. The pixels together shape grayscale images based on the frames captured by the camera. A prototype was constructed successfully. Tests showed that its purpose to move according to the captured image was fulfilled although adjustments could be made for the light to reach all the pixels to a greater extent. The angle span for the pixels turned out to be between 32°and 44°, which proved sufficient for their purpose. The reason for a difference in angle spans between the pixels was due to minor construction errors and was not an issue of functionality for the mirror. The refresh rate of the mirror, which could be described as the frequency at which the pixels rotate and shape an image, was set to 25 frames per second. This allowed the mirror to mimic movements in front of it without much delay while not exceeding the frame rate of the camera, which capture at a frame rate of 30 frames per second. The camera was therefore the vital limitation for the refresh rate of the mirror.Detta kanidatexamensarbete har syftet att presentera en översikt av de steg som genomfördes för att konstruera och programmera en prototyp av en mekanisk spegel. Idén med en mekanisk spegel är att en kamera läser in en bild som sedan är översatt till pixlar med olika värden på ljusstyrka. Dessa ljusstyrkor visas sedan av metallplattor, vilka agerar som pixlar, som roterar till olika vinklar för att reflektera motsvarande ljus från en lampa. Pixlarna formar tillsammans gråskalebilder baserat på de bilder som kameran läser in. En prototyp konstruerades framgångsrikt. Test visade att dess syfte att röra sig i enlighet med den inlästa bilden uppfylldes, dock finns plats för justeringar för att ljuset från lampan ska nå pixlarna i större utsträckning. Pixlarnas vinkelomfång visade sig bli mellan 32°och 44°, vilket konstaterades vara tillräckligt för deras syfte. Skillnaden i vinkelomfång mellan pixlarna berodde på mindre konstruktionsfel och påverkade inte spegelns funktionalitet. Spegelns uppdateringsfrekvens, vilket kan beskrivas som frekvensen med vilken pixlarna roterar och formar en bild, sattes till 25 bilder per sekund. Detta tillät spegeln att härma rörelser framför den utan stor fördröjning utan att överstiga kamerans bildhastighet, som läser in med en bildhastighet på 30 bilder per sekund. Kameran var således den begränsade faktorn för pixlarnas uppdateringsfrekvens.
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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 JANEIROFragmentos 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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Fiorani, Fulvia M. "Active mirror alignment for free electron lasers." Thesis, Monterey, Calif. : Springfield, Va. : Naval Postgraduate School ; Available from National Technical Information Service, 2002. http://library.nps.navy.mil/uhtbin/hyperion-image/02Dec%5FFiorani.pdf.
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Thesis (M.S. in Applied Physics)--Naval Postgraduate School, December 2002.Thesis advisor(s): Bruce C. Denardo, Thomas J. Hofler. Includes bibliographical references (p. 61). Also available online.
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McDowell, Michael John. "Mirror movements in normal and abnormal child development /." St. Lucia, Qld, 2003. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe17555.pdf.
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Gaede, Tobias Sandino. "Vídeo especular." www.teses.ufc.br, 2011. http://www.repositorio.ufc.br/handle/riufc/7848.
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GAEDE, Tobias Sandino. Vídeo especular. 2011. 106f. Vídeo especular. – Dissertação (Mestrado) – Universidade Federal do Ceará, Instituto de Cultura e Arte, Programa de Pós-graduação em Comunicação Social, Fortaleza (CE), 2011.Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-04-01T14:58:29Z No. of bitstreams: 1 2011-DIS-TSGAEDE.pdf: 1191680 bytes, checksum: 079b4b489c836e65b6575587213766ac (MD5)
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This research analyzes the videoinstallation “Trindade”, recognizing in it the aspects of trinitarian composition of their conceptual elements (triads theoretical categorization, dialectical method, trinitarian theology) and materials (equipment, methods of image generation, optical phenomena and the production of synthetic color), and establish parallels between the image generated by it and the image produced by the tool of the mirror.
Esta pesquisa analisa a videoinstalação “Trindade”, reconhecendo nela aspectos relacionados à composição trinitária de seus elementos conceituais (tríades teóricas, categorização, método dialético, teologia trinitária) e materiais (equipamentos, modos de geração da imagem, fenômenos óticos e de produção de cores sintéticas), além de se estabelecer paralelos da imagem por ela gerada àquela produzida pela ferramenta do espelho.
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Chipman, Russell A. "Image formation in coronagraphs due to mirror polarization aberrations." SPIE-INT SOC OPTICAL ENGINEERING, 2017. http://hdl.handle.net/10150/627180.
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The PSF for astronomical telescopes and instruments depends not only on geometric wavefront aberrations, but also on those polarization aberrations from the polarization properties of reflecting and transmitting surfaces. The image plane irradiance distribution is the linear superposition of four PSF images: one for each of the two orthogonal polarizations and one for each of two cross-coupled polarization terms.
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Dell'Era, Maria Elena. "The Effects of Mirror Confrontation on Body Image Ratings." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc277965/.
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There are conflicting data in the literature regarding the effects of mirror exposure on subjective body-image evaluation. Much of the objective self-awareness research by Duval and Wicklund concluded that the presence of a mirror leads people to evaluate themselves negatively, while other studies have reported contrary findings. The primary purpose of this study was to determine the effects of mirror confrontation on individuals' body image ratings. Subjects were 88 childless, female university students. Using the Eating Disorders Inventory-Body Dissatisfaction subscale (BDS) as a screener, subjects were assigned to either a High Satisfaction group or a Low Satisfaction group. The subjects then completed the Multidimensional Body-Self Relations Questionnaire (MBSRQ) in either a Mirror or No Mirror condition. Results suggest that the presence of the mirror had no measurable effect on the subjects' ratings of themselves on the MBSRQ. There was a main effect for satisfaction level, and no interaction was found between the satisfaction level and the mirror condition. Possible explanations for these findings are offered.
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Moore, Brian M. "Flexible multibody dynamics and control of the bifocal relay mirror." Thesis, Monterey, Calif. : Springfield, Va. : Naval Postgraduate School ; Available from National Technical Information Service, 2003. http://library.nps.navy.mil/uhtbin/hyperion-image/03Dec%5FMoore.pdf.
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Thesis (Aeronautical and Astronautical Engineer and M.S. in Astronautical Engineering)--Naval Postgraduate School, December 2003.Thesis advisor(s): Brij N. Agrawal, Marcello Romano. Includes bibliographical references (p. 59). Also available online.
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Ligoski, Priscila. "Nas águas de Narciso : todo eu é um outro e todo engodo torna-se uma verdade." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/106437.
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Esse trabalho versa sobre a perspectiva de atualização da função especular. Tendo como base as obras “O Espelho” (1882), de Machado de Assis; O retrato de Dorian Gray (1891), de Oscar Wilde; “A mulher no espelho: reflexo e reflexão” (1929), de Virgínia Woolf; “Espelho” (1997), de José J. Veiga; e O homem duplicado (2002), de José Saramago, importa analisar a trajetória de evolução do espelho – a qual acompanha o desenvolvimento do cenário literário – assim como a sua relevante significação perante as narrativas. No século XIX, Machado de Assis retrata a capacidade de suprir a falta do olhar do outro, revelando o desaparecimento da individualidade do sujeito e expondo a importância atribuída à alma exterior; em Oscar Wilde, é a função especular quem faz o narcisista Dorian descobrir-se no retrato e, depois, perceber sua verdadeira essência maculada por ações egoístas. Nos século XX e XXI, com a contribuição das teorias psicanalíticas de Freud e de Otto Rank, que dão novos contornos para a questão da consciência do sujeito, Virgínia Woolf narra a descoberta da verdade que ninguém conseguia encontrar – o vazio interior; J. J. Veiga desloca o foco narrativo para o objeto, que revela a qualidade e a veracidade da alma interior; e Saramago discute a falta de singularidade do sujeito e o reconhecimento pelo outro. A função principal do espelho é revelar a verdade que está mascarada e instigar um processo de reconhecimento, de estranhamento entre imagem e reflexo, dialogando, frequentemente, com a temática do duplo e a do fantástico.This dissertation is about the update perspective of mirror’s function. Based on the works “O Espelho” (1882), by Machado de Assis; The picture of Dorian Gray (1891), by Oscar Wilde; The Lady in the looking-glass (1929), by Virgínia Woolf; Espelho (1997), by José J. Veiga e O homem duplicado (2002), by José Saramago, it’s important to analyze the mirror’s evolution path – which comes with the literary scene development – as well as the relevant significance before the narratives. In the nineteenth century, Machado de Assis portrays the ability to address the lack of the other’s gaze, revealing the subject’s individuality disappearance and points out the importance attached to the exterior soul; in Oscar Wilde, it’s the mirror’s function that makes narcissist Dorian discover himself on the portrait and, after, realizes his truth essence which is tainted by selfish actions. In the XX and XXI centuries, with the psychoanalytic theories’ contribution from Freud and Otto Rank, which offers new perspectives to the subject’s consciousness issue, Virgínia Woolf narrates the discover of truth that nobody could find – the blank inside; J. J. Veiga dislocates the narrative focus to the object, which reveals the quality and the veracity of interior soul and Saramago discusses subject’s lack of uniqueness and recognition by the other. The mirror’s main function is to reveal the truth that is masquerade and to instigate a recognition process, an uncanny between image and reflection, dialoguing, often, with the doppelganger and the fantastic theme.
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Campbell, Thomas E. "Simulations of a short Rayleigh length 100 kW FEL and mirror stability analysis." Thesis, Monterey, Calif. : Springfield, Va. : Naval Postgraduate School ; Available from National Technical Information Service, 2002. http://library.nps.navy.mil/uhtbin/hyperion-image/02Dec%5FCampbell.pdf.
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Huang, Tao. "Differential Zernike filter for phasing of segmented mirror and image processing." Thesis, Heriot-Watt University, 2009. http://hdl.handle.net/10399/2221.
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The major objective of this thesis is to study the differential Zernike filter and its applications in phasing segmented mirror and image processing. In terms of phasing, we provide both theoretical analysis and simulation for a differential Zernike filter based phasing technique, and find that the differential Zernike filter perform consistently better than its counterpart, traditional Zernike filter. We also combine the differential Zernike filter with a feedback loop, to represent a gradient-flow optimization dynamic system. This system is shown to be capable of separating (static) misalignment errors of segmented mirrors from (dynamical) atmospheric turbulence, and therefore compress the effects of atmospheric turbulence. Except for segmented mirror phasing, we also apply the Zernike feedback system in image processing. For the same system dynamics as well as in segment phasing, the Zernike filter feedback system is capable of compress the static noisy background, and makes the single particle tracking algorithm even working in case of very low signal-to-noise ratio. Finally, we apply an efficient multiple-particle tracking algorithm on a living cell image sequence. This algorithm is shown to be able to deal with higher particle density, while the single particle tracking methods are not working under this condition.
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Vincelette, Elise M. "Assessment of mirror image facial asymmetries in monozygotic and dizygotic twins." Thesis, Boston University, 2015. https://hdl.handle.net/2144/37822.
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Thesis (MSD) --Boston University, Henry M. Goldman School of Dental Medicine, 2015 (Department of Orthodontics and Dentofacial Orthopedics).Includes bibliographic references: leaves 43-50.
Background: Mirror imaging in identical twins has long been noted and suggests that left-right asymmetry may become established early in embryogenesis. However, it is not known whether the clinical reports of “mirroring” in twins are annulled by an equal number of cases lacking mirroring. As left-right patterning is a key component of laterality-based birth defects, it is important to determine whether aspects of left-right asymmetry are in fact set prior to the splitting event that produces monozygotic twins. We aimed to determine whether significant mirror imaging occurs in transverse facial asymmetries in monozygotic and dizygotic twins. Material and Methods: The sample included PA cephalograns from 56 pairs of monozygotic twins and 57 pairs of dizygotic twins from the Forysth/Moorrees Twin Study (females age 14-1 5 and males age 15-16). The films were digitized and anatomical landmarks identified. Using Geometric Morphometric analyses including Procrustes superimposition, the landmark configuration of one individual twin was reflected (mirrored) and superimposed using Procrustes superimposition. Principal components analysis (PCA) and MANOVA tests 1V were performed to determine the differences between monozygotic and dizygotic twins. A secondary Procrustes superimposition was then conducted without reflection. If mirroring asymmetry was present, the average Procrustes distance within reflected twin sets (D1) would be smaller than those superimposed without reflection (D2). T tests were performed to determine the differences between reflected and non-reflected regions in monozygotic and dizygotic twins. Results: After reflection, no statistically significant differences were found for any regions (with the exception of Mandible A Right, p=0.0258) between monozygotic and dizygotic twins. When comparing reflected versus non-reflected regions, Midface D Left and Mandible C Right in dizygotic twins yielded negative values for D1-D2; however permutation tests revealed these values are not significant. T tests showed 15 out of 20 regions had significant smaller mean values for D2 versus Dl in monozygotic twins, while only 7 out of 20 in dizygotic. A Z test comparing these two proportions revealed this difference between twin types is significant (p=0.011), With the monozygotic twins having significantly more regions that fit better when non-reflected than the dizygotic twins. Conclusion: No statistically significant differences in mirroring were found between monozygotic and dizygotic twins in any craniofacial regions except for Mandible A Right, in which dizygotic twins showed a better fit when mirrored. Upon examination of the differences between reflected and non-reflected regions, monozygotic twins showed a statistically significantly greater number of regions that fit better when superimposed versus reflected in comparison to dizygotic twins. From this study we conclude that no significant mirroring occurs in craniofacial asymmetries, perhaps due to the biological stability of neural crest cells that derive the cranial cartilage and skeleton.
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Jarpa, Pedro F. "Quantifying the differences in low probability of intercept radar waveforms using quadrature mirror filtering." Thesis, Monterey, Calif. : Springfield, Va. : Naval Postgraduate School ; Available from National Technical Information Service, 2002. http://library.nps.navy.mil/uhtbin/hyperion-image/02sep%5FJarpa.pdf.
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Thesis (M.S.: Electrical Engineer)--Naval Postgraduate School, September 2002.Thesis advisor(s): Phillip E. Pace, Herschel H. Loomis, Jr. Includes bibliographical references (p. 151-152). Also available online.
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Thurmes, Florence. "Le regard de Narcisse : des images spéculaires aux images de synthèse." Thesis, Metz, 2010. http://www.theses.fr/2010METZ009L.
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Comment est-t-il possible qu'un individu, à l'instar de Narcisse, ne reconnaisse pas son reflet ? Cette question est d'une actualité accrue dans une société caractérisée par les nouvelles technologies et la possibilité de création, de manipulation et de reproduction illimitée d'images. La thèse a pour objectif de retracer les différentes manières dont les artistes contemporains confrontent le spectateur au propre reflet spéculaire ou numérique. A travers l'analyse d'œuvres d'une cinquantaine d'artistes se servant d'un miroir ou de la transmission vidéo en temps réel, la non-reconnaissance et l'identification de l'image de soi sont abordées dans le contexte de la société occidentale contemporaine en comparant la confrontation du spectateur avec le propre reflet au face à face de Narcisse, c'est-à-dire de l'individu qui se singularise de son entourage, avec son double, son reflet dans la source. Cette étude est complétée en analysant le cas de Narcisse, et partant du spectateur, à la lumière de la psychanalyse. La décomposition du mythe de Narcisse décrit par Ovide en ses scènes-clés livre les principaux thèmes autour desquels se structure l'analyse : le reflet dans la source en tant qu'image à la fois véridique et illusoire, la séduction par l'image (idéalisée) et le désir de la rejoindre, l'identification de l'image propre et le désir de séparation d'avec le reflet, la mort et la métamorphose de Narcisse. Ce découpage du mythe permet de tirer des parallèles entre Narcisse et le spectateur contemporain, tout en repensant la relation entre l'original et son reflet, c'est-à-dire sa copie, à l'ère des nouvelles technologiesHow is it possible that a person, after the model of Narcissus, does not recognize his own reflection? This question is of increased topicality in a world characterized by the new technologies and the possibility of creation, manipulation and unlimited reproduction of pictures. The objective of this thesis is to relate the different ways used by contemporary artists in order to confront the spectator with his own mirroring or digital reflection. By analysing the works of about fifty artists using a mirror or real-time video transmission, the non-recognition as well as the identification of the self image are discussed in the context of the contemporary occidental society by comparing the confrontation of the spectator with his self image to the face to face of Narcissus, i.e. of the person making himself different from his surrounding, with his double, his reflection in the water of the well. The analysis of the art works will be rounded off by a consideration of the case of Narcissus, and hence of the spectator, in light of psychoanalytical theories. The subdivision into its key scenes of the myth written by Ovid informs on the main issues around which our analysis is structured: the reflection in the water as an image both truthful and illusive, the seduction by the (idealized) image and the desire to join it, the identification of the self image and the wish of separation from that reflection, the death and the metamorphosis of Narcissus. This division of the myth allows drawing parallels between Narcissus and the contemporary spectator, while rethinking the connection between the original and its reflection, i.e. its copy, in the era of the new technologies
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Lundberg, Fredrik, and Daniel Johansson. "Mirror mirror on the wall, will sponsorship help my brand equity grow tall? : Hur konsumenter uppfattar ett varumärke vid sponsring." Thesis, Högskolan i Gävle, Företagsekonomi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-23574.
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Syfte Syftet med denna studie är att undersöka hur sponsring påverkar konsumenters uppfattning av ett varumärke. Metod Genom ett deduktivt synsätt har litteratur och vetenskapliga artiklar analyserats för att skapa en översikt av tidigare forskning. Data har samlats in via en enkätundersökning där resultatet har analyserats med hjälp av deskriptiv statistik och faktoranalys. Vidare har en diskussion förts över studiens resultat som har lett fram till studiens slutsats. Slutsats Utifrån studien kan vi fastställa att sponsring har positiv inverkan på konsumenters varumärkesmedvetenhet och varumärkesimage. Publiken under ett sportevenemang har förmågan att igenkänna och skapar en minnesbild av ett varumärke som sedan leder till en förbättrad varumärkesimage. Sponsringen bidrar till att skapa associationer som är betydande för hur konsumenten vidare värderar relationen till ett varumärke. Uppsatsens bidrag Vårt bidrag till ämnet företagsekonomi och marknadsföring är en ökad förståelse hur sponsring påverkar varumärkeskapital. Vi kan således påvisa att exponering av ett varumärke höjer konsumentens medvetenhet och skapar en positiv image. Vidare bidrag inom ämnet är en ökad insikt hur de olika beståndsdelarna i varumärkesmedvetenhet- och image påverkar varandra.Aim The purpose of this study is to examine how sponsoring affect consumer’s perception of a brand. Method Through a deductive approach has literature and scientific articles been analyzed to get an overview of previous research. Data were collected through a survey where the results have been analyzed by using descriptive statistics and factor analysis. Furthermore, a discussion has been made overthe results of the study which leads to a conclusion of the study. Conclusions Based on the study, we can determine that the sponsorship has a positive impact on consumer brand awareness and brand image. The audience for a sporting event has the ability to recognize and recall a brand which leads to an improved brand image. The sponsorship will help to create associations that are significant for how the consumer further values the relationship with a brand.
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Walker, Joanna Louise. "How do healthy individuals adapt to reversed vision generated when using mirror specs? : an investigation into mirror devices, adaptation to body schema and imagery ability in healthy participants." Thesis, University of Edinburgh, 2010. http://hdl.handle.net/1842/5629.
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Introduction: This study investigates a new form of Mirror Therapy (MT), the Mirror Specs. Evidence suggests that MT is a non-invasive, cost effective method of reducing pain and increasing functioning in some chronic pain conditions. There is no clear explanation for the underlying mechanisms of MT, however, a plausible hypothesis suggests that adaptation to the Body Schema is an integral component. Aims and Hypotheses: The current study examined Body Schema adaptation in healthy participants when performing a Finger Tapping Task with both Mirror Specs and a Mirror Box. It was hypothesised that adaptation would be indicated by increases in Reaction Times (RTs) and Error Rates when comparing unimanual phases of a Finger Tapping Task, following a bimanual „adaptation‟ phase. It was hypothesised that there would be no difference between participants‟ ability to adapt to each device. Finally, the study proposed that there would be a relationship between the adaptation observed on the Finger Tapping Task and participants individual imagery abilities. Method: Participants performed 4 phases of a Finger Tapping Task with alternate bimanual and unimanual phases when using both the Mirror Specs and Mirror Box. Imagery abilities were measured using self-report questionnaires and a Motor Imagery computer task. Results and Discussion: Repeated Measures ANOVAs revealed reductions in RTs and Error Rates in Phase 3 compared to Phase 1 on the Finger Tapping Task. There were no differences between RTs and Error Rates when using the Mirror Specs and Mirror Box. These findings suggest that healthy participants were able to use each Mirror Device effectively and this provide impetus for the proposal that Mirror Specs could provide a practical, cost effective addition to rehabilitation services. Finally, there were no clinically significant relationships between use of the Mirror Devices and imagery abilities, thereby indicating imagery abilities did not influence how participants adapted to using the Mirror Devices.
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Davis, Emilie Jill. "Mirror, Mirror on the Wall: An Experimental Study Examining the Relationship Between Music Lyrics and Body Satisfaction in Emerging Adult Women." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6514.
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Over the past decade, there has been an increase in academic research on media and its influences on body satisfaction. To date, the majority of body image literature focuses on low body satisfaction. While low body satisfaction leads to negative outcomes, high body satisfaction leads to a host of positive outcomes. Further, in a non-academic domain, it would seem that even some media icons are starting to take part in the effort to try to promote positive appearance messages. Singers like Christina Aguilera, Colbie Caillat, and Alessia Cara have begun writing songs like Beautiful, Try, and Scars To Your Beautiful to combat the rampant standard of the thin ideal. The current study consists of an experiment to examine the effects of positive or negative appearance music lyrics and their influence on body related outcomes (body satisfaction measured implicitly through an IAT, self-reports of body satisfaction, and observed body surveillance) in emerging adult women while moderating by adherence to sociocultural attitudes of media ideals. Results revealed that participants who listened to the positive lyrics reported significantly better body satisfaction as compared to those who listened to the negative lyrics. However, those who listened to positive lyrics did not report significantly better body satisfaction compared to those in the neutral condition and those in the neutral condition did not differ significantly from those in the negative condition. Due to preconceived schema regarding how participants already felt about their appearance, perhaps they were primed to hear lyrics confirming their appearance fears (or soothing them), but failed to attend to lyrics "unappearance" related (the neutral lyrics). Therefore, when asked about their body satisfaction, their responses reflected what they attended to, namely, either the positive or negative lyrics, not the neutral lyrics.
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Koehn, Aaron. "In the right mirror: we are all gods." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3423.
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I look to the common and mundane as sources for inspiration and imagination. In an attempt to evolve a veneer away from representing a coveted material, I have taken phenomenological events from my own personal experience and have searched for commonalities with them to create a new idea for veneering. My exploratory use of Google as a grammar-less machine deciphers the very nature of naming and its ambiguous attachment to an image. I am interested in the multiplicity of personal associations that become attached to images, and the subjectivity thus involved in the naming of an image.
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Williams, Rowan Clare. "Mirror of eternity : image and identity in Clare of Assisi's theology of personhood." Thesis, University of Cambridge, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708030.
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Cushen, George. "Mobile image parsing for visual clothing search, augmented reality mirror, and person identification." Thesis, University of Southampton, 2016. https://eprints.soton.ac.uk/400088/.
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With the emergence and growing popularity of online social networks, depth sensors (such as Kinect), smart phones /tablets, wearable devices, and augmented reality (such as Google Glass and Google Cardboard), the way in which people interact with digital media has been completely transformed. Globally, the apparel market is expected to grow at a compound annual growth rate of 5 between 2012 and 2025. Due to the huge impact for ecommerce applications, there is a growing interest in methods for clothing retrieval and outfit recommendation, especially efficient ones suitable for mobile apps. To this end, we propose a practical and efficient method for mobile visual clothing search and implement it as a smart phone app that enables the user to capture a photo of clothing of interest with their smart phone and retrieve similar clothing products that are available at nearby retailers. Furthermore, we propose an extended method where soft biometric clothing attributes are combined with anthropometrics computed from depth data for person identification and surveillance applications. This addresses the increased terrorist threat in recent years that has driven the need for non-intrusive person identification that can operate at a distance without a subject’s knowledge or collaboration. We implement the method in a wearable mobile augmented reality application based on a smart phone with Google Cardboard in order to demonstrate how a security guard could have their vision augmented to automatically identify a suspect in their field of vision. Lastly, we consider that a significant proportion of photos shared online and via apps are selfies and of dressed people in general. Hence, it is important both for consumers and for industry that systems are developed to understand the visual content in the vast datasets of networked content to aid management and perform smart analysis. To this end, this dissertation introduces an efficient technique to segment clothing in photos and recognize clothing attributes. We demonstrate with respect to the emerging augmented reality field by implementing an augmented reality mirror app for mobile tablet devices that can segment a user’s clothing in real-time and enable them to realistically see themselves in the mirror wearing variations of the clothing with different colours or graphics rendered. Empirical results show promising segmentation, recognition, and augmented reality performance.
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Petri, Loris <1989>. "The Cuban image in the mirror of the Latin American press, 1979-1994." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/14514.
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Nella mia tesi cercherò di delineare un’immagine della Cuba castrista nella stampa latino americana durante gli anni che vanno dall’intervento di Fidel Castro all’ONU nel 1979 fino all’anno 1994. Le tematiche prevalenti attorno a cui ruoterà questa analisi saranno la eco delle politiche cubane di fronte alla crisi dei debiti e alle attese relative alla sopravvivenza del sistema politico cubano nel periodo post sovietico. Come fonte principale userò articoli di giornali latino americani dall’anno 1979 ai primi anni novanta. Per creare le basi per una comprensione delle radici storiche dei problemi discussi e del contesto politico, premetterò a questa analisi un’ampia ricostruzione storica che parte dalla storia cubana nel ventesimo secolo e dalla rivoluzione cubana.
La mia tesi inizierà con il racconto della storia cubana, iniziando dalla fine del colonialismo spagnolo fino alla rivoluzione cubana guidata da Fidel Castro. Spiegherò l’influenza statunitense durante questo periodo e illustrerò il ruolo e l’immagine della figura di Fidel Castro, avvalendomi di varie bibliografie. A fronte dell’importanza del discorso ‘anti-imperialista’ all’interno della rivoluzione cubana, analizzerò anche alcune importanti teorie dell’imperialismo e spiegherò come queste tradizioni portarono Cuba a impegnarsi in America Latina e in Africa, e in genere a favore del Terzo Mondo.
Il capitolo successivo tratterà la crisi dei debiti e l’opposizione cubana alla gestione di tale crisi da parte degli USA e del FMI. Spiegherò, all’interno di questo capitolo, la storia del movimento dei paesi non allineati e il ruolo di Cuba svolto in questa organizzazione. Successivamente andrò a trattare le politiche IMF nei paesi del Terzo Mondo, il discorso di Fidel Castro alle Nazioni Unite nel 1979 contro tali politiche e la sua richiesta di una cancellazione dei debiti. Infine, guarderò più in dettaglio alle politiche del debito nei paesi latino americani.
Nell’ultimo capitolo utilizzerò prevalentemente le fonti che ho a disposizione dei giornali e periodici latino americani – circa una quarantina di articoli di stampa latino americana di varie testate – durante gli anni 1979-1994 a riguardo dell’immagine di Cuba durante questi anni, in particolare in relazione ai temi politici ed economici trattati nei capitoli precedenti. Inserirò anche delle interviste a due giornalisti latino americani, per avere qualche giudizio più generale che possa meglio spiegare, ad esempio, perché la stampa dei diversi paesi ha avuto un’attenzione diversa verso Cuba. Allo stato non sono in grado di anticipare le conclusioni perché il lavoro con queste fonti è ancora in corso.
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Martinez, Fanny. "Remedios Varo et Leonora Carrington en miroir : images croisées." Thesis, Montpellier 3, 2018. http://www.theses.fr/2018MON30043/document.
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Cette thèse est consacrée à l’étude en regard l’une de l’autre des œuvres picturales et littéraires de deux artistes nées en Europe, qui fréquentèrent les cercles surréalistes parisiens dans les années 30 avant de s’exiler au Mexique durant la seconde guerre mondiale : Remedios Varo (1908-1963) et Leonora Carrington (1917-2011). Il s’agit de rechercher les points de convergence et les divergences entre les processus créatifs des deux artistes, de faire dialoguer leurs œuvres et d’interroger leurs points de collaboration créative, en se centrant sur la question des images. L’approche proposée dans ce travail est tout à la fois comparative et pluridisciplinaire, puisqu’elle s’élabore au croisement de l’histoire de l’art, de l’analyse littéraire, de l’analyse picturale et de la civilisation.Le concept d’image, dont la délimitation fait l’objet du préambule, est entendu dans quasiment toutes ses acceptions – depuis l’image picturale et l’image verbale jusqu’à l’image mentale, dont l’image onirique – et est conçu comme lieu d’intersection par excellence.La première partie de ce travail explore la question de la fabrique des images ou, pour utiliser une métaphore empruntée au langage alchimique, du laboratoire des images. Le chapitre 1 présente et théorise l’image surréaliste afin de démontrer la manière dont les deux créatrices ont su s’approprier l’« esprit » du surréalisme, invitation à une remise en cause du monde visible, pour mieux le dépasser à travers l’élaboration de « modèles de monde », en analogie avec certains processus alchimiques et occultistes. Le chapitre 2 envisage pour sa part l’exil non pas seulement comme un contexte historique et culturel ayant donné lieu à de profondes dynamiques d’influences mutuelles, mais comme une notion pivot permettant d’appréhender les phénomènes de réappropriations, d’hybridations, de transfusions créatives ou de transgressions à l’œuvre dans leurs productions.La seconde partie approfondit la mise en regard des images des deux artistes suivant un mouvement dialectique unissant images-reflets et images-distorsions. Le chapitre 3 entreprend l’analyse des autoreprésentations féminines et s’attache à mettre en évidence la façon dont celles-ci défient les images du féminin élaborées par les créateurs surréalistes masculins ; les notions de déguisement, de travestissement et de mascarade sont examinées et présentées comme inséparables de la quête de soi. Le chapitre 4, enfin, s’intéresse aux « miroirs de la relation » et à la « relation aux miroirs » des deux artistes. Dans un premier temps sont abordées les représentations de l’amitié créative unissant les deux artistes dans leur œuvre, notamment écrite, et les mécanismes de fictionnalisation qui les soutiennent. Les jeux de miroirs qu’ont disposés entre leurs images les deux femmes en écrivant à quatre mains sont ensuite analysés, ainsi que le motif pictural du miroir, lequel peut être considéré comme un emblème de la démarche créative de Remedios Varo et de Leonora Carrington, objet symbolique et magique plus que dispositif spéculaireThis PhD dissertation focuses on a literary and pictorial comparative analysis of European-born artists Remedios Varo (1908-1963) and Leonora Carrington (1917-2011) who, in the 1930s, participated in the Surrealist group in Paris and then went into exile in Mexico during World War II. The purpose of this study is to identify points of convergence and divergence in the creative process of these two artists. Equally important, this thesis will endeavor to enable a dialogue between their artworks and to examine their creative collaboration while focusing on the concept of images. The standpoint of this dissertation is at the same time comparative and multidisciplinary, for it is formulated at the junction of art history, literary analysis, pictorial analysis, and history.The notion of image, the conceptual contours of which are explained in the preamble 2 is to be understood in almost all of its significations – from pictorial and verbal image to mind-made image, in which oneiric image is to be included – and is seen as a conceptual intersection point par excellence.The first part of this study questions the construction of images or, using a metaphor borrowed from the alchemical language, the image laboratory. Chapter 1 introduces and theorizes the notion of surrealist image in order to reveal the ways in which both artists integrated into their works the surrealist state of mind, being an invitation to question the visible world, and went beyond it through the elaboration of “world models”, by analogy with specific alchemical and occultist processes. Chapter 2 not only considers exile as a historical and cultural context that gave way to profound mutual and dynamic influences, but also as a pivotal notion that enables to comprehend, in their productions, phenomena of reappropriation, hybridization, creative transfusion and transgression.The second part delves deeper into the comparison of images realized by both artists – an analysis that follows a dialectical pattern that combines the concepts of image-reflections and image-distortions. Chapter 3 analyzes female self-representations and is dedicated to reveal the way in which these representations challenge the images of the feminine as elaborated by male surrealist creators. Notions of transvestism and masquerade are examined and presented as inseparable from the quest to self-discovery.Finally, Chapter 4 pays attention to both artists’ “mirrors of relation” and “relation to mirrors”. On the one hand, this analysis addresses the creative friendship that unites both artists in their work, more specifically in their written expression, and the mechanisms of fictionalization pertaining to it. The mirror effects that are at play in the images of both artists who created fourhanded works and the pictorial motif of the mirror are also focused on in this research. Indeed, the mirror may be considered as an emblem of Remedios Varo’s and Leonora Carrington’s creative approach, not only as a specular tool but also and more importantly, as an object of symbolism and magic
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Nanim, Armando Fiel Lourenço. "Um corpo ao espelho: As narrativas rorschach e do corpo numa abordagem musicoterapêutica com toxicodependentes." Master's thesis, ISPA - Instituto Universitário, 2013. http://hdl.handle.net/10400.12/2746.
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Dissertação de Mestrado em Psicologia Clínica apresentada ao ISPA - Instituto UniversitárioPretendemos com este estudo verificar a existência de invariantes no que diz respeito à imagem do corpo, a partir da análise de uma narrativa Rorschach e de narrativas construídas a partir de quatro instruções-espelho pedidas em quatro momentos distintos, a um sujeito com toxicodependência, no decorrer de um programa de musicoterapia. Estudámos os pressupostos teóricos relacionados com os conceitos de musicoterapia, toxicomania, corpo e imagem corporal, bem como a forma como se articulam no modo de compreensão psicanalítico. Transpusemos do protocolo Rorschach e das narrativas apresentadas nas instruções-espelho um conjunto de procedimentos de análise identificados e recolhidos a partir dos pressupostos que relacionam a forma como um sujeito com toxicomania narra o seu corpo e se relaciona com ele e com o mundo, em suma, quais os atributos desse corpo ao nível da Integridade e da forma, do Conteúdo, da Identidade, dos Afetos, da dinâmica dos Movimentos, Deslocamentos ou Imobilidades; que Tipo de Relações estabelece e de que forma as Representa. Foi usada uma metodologia qualitativa, centrada no estudo e análise da narrativa livre. Analisámos a narrativa Rorschach e a narrativa Espelho sob a influência dos mesmos procedimentos e relacionamos estes dois tipos de narrativa. Da análise e discussão dos resultados obtidos e na procura de síntese compreensiva, foi-nos possível verificar a presença de elementos variantes na narrativa do corpo expressa através do Rorschach e das narrativas espelho, bem como invariâncias no processo interceptivo destas duas narrativas. Por fim, propomos novos estudos, sobretudo visando o alargamento do método a uma amostra alargada de sujeitos com a mesma patologia, ou a mesma metodologia aplicada a outras patologias. Este estudo poderá sublinhar e clarificar o potencial clínico do Rorschach no que diz respeito à imagem corporal narrada por toxicodependentes, podendo contribuir para a compreensão do modo como os toxicómanos se relacionam com a sua imagem corporal e apontar novas possibilidades para o uso da Musicoterapia como elemento complementar ao estudo e à intervenção. A convergência face à leitura e compreensão de um determinado fenómeno através de diferentes áreas do conhecimento clínico, assume-se da maior importância como facilitador do acesso ao funcionamento mental do sujeito.
ABSTRACT: With this study we intend to verify the existence of invariables regarding body image, from the analysis of a Rorschach narrative and of narratives built from four mirror-instructions requested in four distinct moments, to a subject with drug addiction, throughout a music therapy program. We studied the theoretical assumptions related to the concepts of music therapy, drug addiction, body and body image, as well as the way how they articulate in the mode of psychoanalytic understanding. We have transposed the Rorschach protocol and of the narratives presented on mirror-instructions a group of procedures of analysis identified and collected from the assumptions that relate the way how a subject with drug addiction narrates his body and if he relates with it and the world, in sum, what are the attributes of that body at the level of Integrity and the form, of Content, of Identity, of Affections, of the dynamic of Movements, Displacements or Immobility; what Kind of relations it establishes and in which way it Represents them. It was used a qualitative methodology, focused in the study and analysis of free narrative. We analyzed the Rorschach narrative and the Mirror narrative under the influence os the same procedures and we related these types of narrative. From the analysis and discussion of the obtained results and in the search of the sympathetic summary, it was possible to us to verify the presence of variant elements in the body narrative expressed through Rorschach and mirror narrative, as well as invariances in the interceptive process of these narratives. Lastly, we propose new studies, primarily aiming the enlargement of the method to a extended sample of subjects with the same pathology, or the same methodology applied to other pathologies. This study can underline and clarify the clinic potential of Rorschach in what concerns the corporal image narrated by drug addicts, contributing to the understanding of the way hoe drug addicts relate with their own body image and point new possibilities to the use of music therapy as complementary element to study and intervention. The convergence against the reading and comprehension of a given phenomenon through different areas of the clinic knowledge, assumed of the upmost importance as facilitator of the access to the mental operation of the subject.
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Zhang, Yuqi. "ROBOMIRROR: A SIMULATED MIRROR DISPLAY WITH A ROBOTIC CAMERA." UKnowledge, 2014. http://uknowledge.uky.edu/ece_etds/55.
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Simulated mirror displays have a promising prospect in applications, due to its capability for virtual visualization. In most existing mirror displays, cameras are placed on top of the displays and unable to capture the person in front of the display at the highest possible resolution. The lack of a direct frontal capture of the subject's face and the geometric error introduced by image warping techniques make realistic mirror image rendering a challenging problem. The objective of this thesis is to explore the use of a robotic camera in tracking the face of the subject in front of the display to obtain a high-quality image capture. Our system uses a Bislide system to control a camera for face capture, while using a separate color-depth camera for accurate face tracking. We construct an optical device in which a one-way mirror is used so that the robotic camera behind can capture the subject while the rendered images can be displayed by reflecting off the mirror from an overhead projector. A key challenge of the proposed system is the reduction of light due to the one-way mirror. The optimal 2D Wiener filter is selected to enhance the low contrast images captured by the camera.
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Clark, Nicholas, and Fiona Dunne. "INTEGRATED CAMERAS AS A REPLACEMENT FOR VEHICULAR MIRRORS." International Foundation for Telemetering, 2006. http://hdl.handle.net/10150/604131.
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ITC/USA 2006 Conference Proceedings / The Forty-Second Annual International Telemetering Conference and Technical Exhibition / October 23-26, 2006 / Town and Country Resort & Convention Center, San Diego, CaliforniaDrivers’ visibility is an area of automobile safety that has seen very limited improvement over the past several decades. Limited visibility is responsible for many car accidents all across America. Mirrors require constant readjustment, and are easily blocked. There is currently a lot of interest in ways to reduce or eliminate all mirrors on a car, and one such method is through a wide-angle network of cameras mounted on the vehicle’s rear. Using real-time video processing, the data from several cameras can be spliced together, and displayed on a vehicle’s dashboard in an intuitive, easy to understand fashion that a driver can quickly see without having to turn away from the road. This has extensive application to light armored vehicles in the military, as well as to automotive designers today.
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West, Damian. "Mirror effects in recognition memory: can participants shift their decision criterion on an item-by-item basis?" [St. Lucia, Qld.], 2004. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19268.pdf.
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Lo, Kanwai Peter. "Iterative image processing using a cavity with a phase-conjugate mirror: possibilities and limitations." Diss., Virginia Tech, 1991. http://hdl.handle.net/10919/39777.
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An optical image feedback system utilizing a cavity with a phase-conjugate mirror (PCM) has been studied. A new theory, based on operators, is developed to describe the steady-state output of the cavity. The use of operators allows one to describe the various optical operations and transformations needed in the optical implementation of iterative algorithms. The characteristics of the cavity are discussed using an expansion of the cavity fields in the cavity eigenfunctions.
Several image processing applications using a PCM cavity are proposed and are studied using computer simulations. These theoretical studies indicate that a PC11 cavity can be useful in many applications.
Optical phase conjugation was realized using a single crystal of photorefractive BaTi0₃ in a degenerated four-wave mixing geometry. The reflectivity gain from the PCM was optimized experimentally by the geometrical parameters and by the beamintensity ratios. The ability of the PCM to remove phase distortion as predicted theoretically, was demonstrated experimentally.
The output of a PCM cavity can be substantially influenced by self-oscillations of the cavity above threshold. This was experimentally studied by observing the time evolution of the input. To avoid the influence of self-oscillation, the cavity must be operated below threshold. It is found that the cavity decay time constant diverges at and about threshold. This can be used as an indicator to show whether the cavity has crossed the threshold or to measure how close to threshold the cavity operates.
To verify that a PCM cavity can be used in iterative image processing, an experiment was set up to implement an image restoration scheme based on the Gerchberg algorithm. It is shown that an optical implementation of the Gerchberg algorithm is feasible for objects made of few pixels. The experiment confirmed .that image iteration in a PCm cavity is possible. The limitations of the cavity and the technical difficulties are discussed.Ph. D.
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Shu, Keitou. "Application of Mirror-image Screening Technology by Expansion of Bioassay Systemｓ and Chiral Resources." Kyoto University, 2019. http://hdl.handle.net/2433/242782.
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付記する学位プログラム名: 京都大学大学院思修館Kyoto University (京都大学)
0048
新制・課程博士
博士(総合学術)
甲第21932号
総総博第7号
新制||総総||1(附属図書館)
京都大学大学院総合生存学館総合生存学専攻
(主査)教授 山口 栄一, 教授 山敷 庸亮, 教授 大野 浩章, 准教授 大石 真也, 大嶌 幸一郎
学位規則第4条第1項該当
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Lee, Sungho, Myung K. Cho, Chan Park, Jeong-Yeol Han, Ueejeong Jeong, Yang-noh Yoon, Je Heon Song, et al. "Development of the fast steering secondary mirror assembly of GMT." SPIE-INT SOC OPTICAL ENGINEERING, 2016. http://hdl.handle.net/10150/622423.
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The Giant Magellan Telescope (GMT) will be featured with two Gregorian secondary mirrors, an adaptive secondary mirror (ASM) and a fast-steering secondary mirror (FSM). The FSM has an effective diameter of 3.2 m and built as seven 1.1 m diameter circular segments, which are conjugated 1:1 to the seven 8.4m segments of the primary. Each FSM segment contains a tip-tilt capability for fine co-alignment of the telescope subapertures and fast guiding to attenuate telescope wind shake and mount control jitter. This tip-tilt capability thus enhances performance of the telescope in the seeing limited observation mode. As the first stage of the FSM development, Phase 0 study was conducted to develop a program plan detailing the design and manufacturing process for the seven FSM segments. The FSM development plan has been matured through an internal review by the GMTO-KASI team in May 2016 and fully assessed by an external review in June 2016. In this paper, we present the technical aspects of the FSM development plan.
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Nor, Gabriela Ruggiero. "Imagens de espelho em Clarice Lispector: entre reflexos e passagens." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-29102012-112144/.
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A presente dissertação tem por objetivo o estudo de imagens de espelhos na produção de Clarice Lispector. Imagem recorrente, o espelho aparece na ficção clariciana em diversos textos, participando amplamente de sua produção de crônicas, romances e contos. O tema proposto desdobra-se em elementos como a problemática da constituição do sujeito, o duplo, a percepção e o limiar, os quais mostram ser pontos centrais na obra em exame. Em nossa pesquisa, relacionamos as imagens especulares a eixos já consagrados pela crítica para o estudo de Clarice Lispector, como questões relativas a identidade e alteridade, ao mesmo tempo em que averiguamos a especificidade da recorrência desta imagem na obra da autora. Cada texto foi analisado de modo independente, para depois ser articulado ao conjunto, procurando, assim, atentar para o que havia de singular em cada aparição do espelho. Nosso corpus é constituído pelos romances Perto do coração selvagem (1945), Uma aprendizagem ou o livro dos prazeres (1969) e Água viva (1973). Também foram analisados contos de diferentes coletâneas, bem como crônicas da autora que apresentavam relevância para nosso estudo; deste conjunto, destacamos textos como A imitação da rosa (1960), Os Obedientes (1964) e A procura de uma dignidade (1974). Devido à particularidade do tema escolhido como fio condutor para a pesquisa, o aparato crítico e teórico foi selecionado de acordo com as necessidades internas de interpretação de texto, evitando, assim, a aplicação de fórmulas ou leituras determinantes, a fim de preservar a polissemia da imagem de espelho e a originalidade de sua configuração na obra de Clarice Lispector.This dissertation aims at studying mirror images in Clarice Lispector\'s production. A recurrent image, the mirror appears in Lispector\'s fiction in several texts, being found in her chronicles, novels and short stories. The theme of the mirror unfolds in elements such as subjectivity, the double, perception and threshold, which show to be central aspects in this author\'s work. In our research, the mirror images have been related to other established critical axes for the study of Clarice Lispector, which include topics like identity and alterity. At the same time, we have looked into the specificity of the recurrence of this image in Lispector\'s literature. Each text was analyzed independently, and only then connected to the group of texts, in order to preserve what was unique about each mirror appearance. Our corpus consists of the novels Near to the wild heart (Perto do coração selvagem, 1945), An apprenticeship or the book of pleasures (Uma aprendizagem ou o livro dos prazeres, 1969) and Living water (Água viva, 1973). We have also analyzed short stories from different books, as well as chronicles which presented relevance to our study. We refer particularly to texts like The imitation of the rose (A imitação da rosa, 1960), Os Obedientes (1964) and A procura de uma dignidade (1974). Due to the particularity of the theme chosen as a motif for the research, the critical and theoretical apparatus used as support were chosen according to the internal interpretational needs of the texts, therefore avoiding the immediate use of reading formulas, in view of preserving the polissemy of the mirror image and the originality of its display in Lispector\'s work.
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Cunha, Ana Paula Rocha da. "A imagem no espelho: o drama de uma ficção." Universidade do Estado do Rio de Janeiro, 2014. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=7041.
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Esta dissertação se propõe a estudar o tema do duplo a partir da produção fílmica de Hanns Heinz Ewers, O estudante de Praga, e o conto de Mário de Sá-Carneiro, A confissão de Lúcio, ambos de 1913. Asduas narrativas se organizam em torno de um triângulo amoroso e compartilham o mesmo destino trágico. Tomando como suporte, inicial, de leitura os textos de Freud e Rank, de 1914, Sobre o narcisismo: uma introdução e O duplo, respectivamente, o artigo de Lacan, O estádio do espelho como formador da função do eu (1949) e seu seminário sobre a angústia, pretende-se estabelecer um diálogo entre literatura e psicanálise, considerando a questão do desdobramento do eu e suas variantes, a cisão do eu em múltiplos eus e o desaparecimento da imagem. A imagem no espelho, a princípio fonte de júbilo, escamoteia um drama: o drama de um sujeito que se constitui a partir de uma ficçãoThis dissertation proposes to study the theme of the double from the filmic production by author Hanns Heinz Ewers called The student of Prague, as well as Mário de Sá-Carneiros tale named Lúcios confession. Ewers and Sá-Carneiros works are both from 1913. These narratives are organized around a love triangle and share the same tragic fate. Taking as a starting-readable texts by authors Freud and Rank in 1914, called On narcissism: an introduction and The double respectively, Lacan s article, The Mirror Stage as formative of the function of the I (1949) and his seminar on anxiety, thus we intend to establish a dialogue between literature and psychoanalysis, considering the issue of deployment of the self and its variants, ego splitting into multiple selves and the disappearance of the image. The image in the mirror, originally source of joy, hides a drama: the drama of an individual who is built up from a fiction
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Berdot-Granger, Françoise. "De l'alchimie des images et de sons. . . A la vidéo miroir." Paris 7, 1986. http://www.theses.fr/1986PA070056.
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Il s'agit d'une thèse sur travaux, résumée dans "De l'alchimie des images et des sons à la vidéo-miroir" - ces travaux portent sur deux axes : 1) analyses critiques des films d'information à caractère scientifique et technique ("Les tribulations d'Hermes") - 2) analyses d'une pratique de recherche : les usages de la vidéo dans le secteur de l'expression des sciences et des techniques au grand public ("Science publique", "Deux essais cinématographiques") et dans l'univers des communications sociales ("Video-miroir dans l'entreprise").This thesis deals with differents subjects summarized in "From the alchemy of pictures and sounds to the "mirror-video" - two directions are concerned : 1) critical analysis of scientific and technical informations films : "Les tribulations d'Hermes" ; 2) analysis of a practice of research : video uses in two fields : first field : the sciences and technics presentation to a large audience : "Science publique", "Deux essais cinematographiques" - second field : the social communications : "Video-miroir dans l'entreprise"
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Lappin, Clare. "The mirror of the observance : image, ideal and identity in Franciscan observant literature, c.1368-1517." Thesis, University of Edinburgh, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.530403.
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Noguchi, Taro. "Development of a Screening Process from Virtual Mirror-image Library of Natural Products Using D-Protein Technology." 京都大学 (Kyoto University), 2017. http://hdl.handle.net/2433/225537.
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Maffioletti, Catherine. "Beyond the mirror : towards a feminised (cartographic) process of spatiality in moving-image & installation based art." Thesis, University of the Arts London, 2012. http://ualresearchonline.arts.ac.uk/6107/.
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Going against phalloculocentrism’s situation in a hom(m)o-sexual paradigm and structuration of the male gaze and moving towards a gyneacentric perspective, the thesis explores how a feminised process of reception and interaction with artworks might arise. My installation and moving-image practice-led research is driven by a central question: How might a feminised form of spatiality, based on a gyneacentric model, deform an audience’s phalloculocentric reading of an artwork? The purpose of this thesis is to find a practice-led feminist method of producing an artwork that actively represents the feminine and de-centres an audience’s (male) gaze. By dislocating the eye from the lens of a camera, I propose to alter an audience’s usual cinematic experience of an image of the feminine through my artwork. This is developed through my proposition for composing an experience of her image through inter-relational exchanges in order to shift the register of reception from gazing to “touching”. I claim this could provide a potential for an embodied feminised process of spatiality and perception. A method of cartographically mapping the feminine through diagrams, photographs, drawings and video is developed in the preparation and installation of the central artwork that structures the thesis, (f)low visibility, in a nightclub. Feminist (installation and video) practitioners’, Martha Rosler, Louise Bourgeois, Mona Hatoum and Pipilotti Rist, approaches to representing the feminine are also investigated. The preparatory designs attempt to subvert the potential for a voyeuristic reception and/or exhibitionistic composition of the installation. This forms an investigation into how the reception and interaction with a feminised image might arise through a tactile process of exploration. I propose that although (f)low visibility produced ungraspable feminised on-screen images it afforded embodied partially locatable inter-relational exchanges in its reception of her. Luce Irigaray’s and Donna Haraway’s theories of embodiment are developed and intertwined in my conclusion. I claim that interaction with and reception of monstrous cyborg images on-screen occurred through the navigation of a fantasy of intrauterine “touching” in (f)low visibility’s installation as a feminised process of spatiality.
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Salchak, Caroline R. "Investigation of Mirror Image Bias: Evidence For the Use of Psychophysiological Measures as Indicators of Cognitive Heuristics." Wright State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=wright1409236685.
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Rowe, Rachel Marie. "Multiplicity of the Mirror: Gender Representation in Oyeyemi's Boy, Snow, Bird." University of Dayton / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1438613978.
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Léotard-Sommer, Christine de. "Sans Bacchus et Vénus, la Galerie se refroidit : dispositif libérant le programme de l'intégralité du décor de la Galerie du Roi de Fontainebleau." Thesis, Bordeaux 3, 2019. http://www.theses.fr/2019BOR30001.
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Cette thèse avance une hypothèse nouvelle à l’énigme du décor de la Galerie François 1er de Fontainebleau, teste son efficacité sur la totalité de ses 16 unités originelles, cadres compris, et argumente la question de sa vraisemblance. Elle repose sur l’analyse de l’unité décrochée de l’extrémité Ouest en 1639, le Bacchus et Vénus de Rosso, aujourd’hui au MNHA de Luxembourg. Ce tableau est un unicum qui relève des mirabilia . Sous le voile d’une scène érotique, il traite de façon sophistiquée un adage récent d’Erasme, ici écourté : sans Bacchus, Vénus se refroidit. Par art de mémoire plastique, il « mémorise » aussi le schéma de la Monarchie céleste, tel que figuré dans la Treschrestienne Cabale metrifiee (1519) de Jean Thenaud et commenté dans son Traicte de la Cabale (1521), deux manuscrits commandés par François 1er . Par trois motifs en bas du tableau, il indique son mode d’emploi discursif qui s’appuie sur Erasme, puis Cues, puis Bonaventure. Enfin, c’est une peinture fabriquée comme les images artificielles irradiantes du De triplici vita de Ficin, mais sans effet magique. Ce tableau est le centre d’un dispositif à la fois intellectuel, matériel, et pratique, qui relie les 16 unités originelles et invite les princes Valois-Angoulême à une réception spécifique pour verbaliser eux-mêmes le programme de discours organisé. La base intellectuelle de ce dispositif est théologique : elle repose sur le verset de saint Paul (1 Co, XIII, 12), et se réfère à Erasme, Cues, et Bonaventure. Sa particularité est de transposer les concepts mentaux de ces penseurs chrétiens à un décor peint et stuqué, et ce, par serio ludere alors très prisé, en termes d’inventions formelles et d’usages inédits des images, pour générer les discours du programme. Parmi ces inventions, la plus remarquable est la pratique plastique de l’art de mémoire suivant ses règles classiques, dans toutes les unités, cadres compris. Le programme expose la vérité du pouvoir de la monarchie-très-chrétienne, par trois analogies spéculaires au pouvoir de la Monarchie céleste. Il définit des valeurs morales princières, mais aussi deux ambitions politiques majeures, le pouvoir absolu et l’accès à l’imperium mundi par de nouveaux arguments. Il forme le « miroir du prince » secret de la nouvelle dynastie Valois-Angoulême. Ce « miroir » cite aussi le « théâtre » de Giulio Camillo acheté par le Roi en 1530 et éclaire son fonctionnement resté énigmatique. Nous proposons Jean Thenaud associé à Rosso comme concepteursThis thesis puts forward a new hypothesis concerning the enigma of the décor of the Francis I Gallery in the royal palace of Fontainebleau, tests whether this hypothesis works for all 16 of its original units, frames included, and considers the question of its likelihood. It is based on an analysis of the unit removed from the western end of the gallery in 1639, Rosso Fiorentino’s Bacchus, Venus and Cupid, now hanging in the MNHA in Luxembourg. This painting is a unicum that falls into the mirabilia category. Behind the erotic scene lies a sophisticated depiction of a recent - here shortened - adage of Erasmus: without Bacchus, Venus grows cold. Using the art of memory, it also “memorises” the paradigm of the heavenly monarchy portrayed in Jean Thenaud’s Treschrestienne Cabale metrifiee (1519) and commented on in his Traicte de la Cabale (1521), two manuscripts commissioned by Francis I. The three motifs at the bottom of the work indicate its discursive modus operandi, drawing on Erasmus, then De Cues, then Bonaventure. It is a painting constructed like the radiant images of Marsilio Ficino’s De triplici vita, but without magical effect. This painting is at the centre of a simultaneously intellectual, material and practical device, linking the 16 original units and inviting a specific reception from the Valois-Angoulême princes so that they can themselves express the organised discursive programme. The intellectual basis of this device is theological in nature: it is founded on the verse of Saint Paul (1 Corinthians 13:12), and refers to Erasmus, De Cues and Bonaventure. It is unique in that it transposes the mental concepts of these Christian thinkers to a painted, stuccoed décor, following the serio ludere maxim, very popular at the time, in terms of formal inventions and original use of images to generate the programme’s rhetoric. The most remarkable of these inventions is the plastic practice of the art of memory, following its classic rules, in all the units, including the frames. The programme exposes the truth of the power of the very-Christian monarchy, via three analogies to the power of the heavenly Monarchy. It defines princely values, as well as two major political ambitions, absolute power and access to the imperium mundi using new arguments. It forms the secrete “mirror for the prince” of the new Valois-Angoulême dynasty. This “mirror” also cites the “theatre” of Giulio Camillo bought by the King in 1530 and illuminates its enigmatic function. We propose Jean Thenaud, supported by Rosso, as the creators
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Lassoued, Hassiba. "Beur, images d'une mouvance : effet de miroir, de l'image réfléchie à l'image irréfléchie." Paris 3, 2002. http://www.theses.fr/2002PA030072.
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Cette analyse nous a permis de mettre en lumière l'existence de deux discours. Le premier est lié à la masse dominante, les franco-français, et traduit une méconnaissance du sujet, les franco-maghrébins ; on prête à l'autre une mentalité, voire des traits physiques qui l'éloignent ou qui l'excluent de la " norme européenne ". Ces " Beurs " deviennent le produit d'un transfert de l'inquiétude environnante liée à la crise économique, politique et sociale. Le deuxième est la légalisation de l'existence des Beurs par eux-mêmes. Masqués, souvent, par le rire et par un faux détachement, ces Beurs tentent de s'affirmer comme citoyens français à part entière en soulignant leurs différences culturelles et en démontrant qu'en aucun cas, ces différences sont contraires aux valeurs de la République Française. C'est un discours pacifiste empreint de valeurs universellesThis analysis has allowed us to shed light on the existence of two existence of two discourses. The first, which is linked to the dominant social group, the "French French", reveals on ignorance of the "French Maghrebis". The latter are perceived as possessing a certain mentality, or even physical characteristics, which distance or exclude them from the "European norm". This concept of the "Beurs" is a discursive construct linked to the contemporary economic, political and social crises. The second is the discourse by which the "Beurs" attempt to legitimize their own existence, often masking this goal behind humour and apparent detachment. Their aim is to assert their identity as full French citizens by underscoring their cultural differences and showing that such differences are in no way contrary to the values of the French Republic. Theirs is an essentially pacifist discourse, marked by universal values
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Kamm, Frances Alice. "'A mirror image of ourself'? : the technological uncanny and the representation of the body in early and digital cinema." Thesis, University of Kent, 2015. https://kar.kent.ac.uk/59386/.
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This thesis argues that there exists an analogous position in how the human body is represented on the cinema screen, and the response of spectators to this, within two key turning points in film history: the technological advancements made during the late 19th Century (what is commonly referred to as 'early cinema'), and the move away from analogue techniques in the rising dominance of digital filmmaking practices at the turn of the last century (in what can be broadly termed the 'digital age'). In both instances the filmic human body is used as a central spectacular attraction in the promotion of new and novel technologies intended to entertain, startle and challenge audiences. In particular, the use of trick photography in the late 1890s and the popularisation of motion-capture technology at the beginning of the 21st Century are comparable in the way these special effects technologies draw on the aesthetics of photographic realism and the idea of cinematic indexicality, whilst simultaneously rendering their depiction of the human body as unstable and transformative. An analysis of audience reactions to these technologies reveals how spectators from both eras have found these bodies strange, compelling and eerie: these filmic humans are uncanny. This thesis compares the technologies of early and digital cinema and their representation of the human form under the theoretical framework of the uncanny. Inspired by Freud's argument for the unheimlich, this investigation argues for the presence of a technological uncanny: an experience of the uncanny which has been provoked by the experience and direct contemplation of cinematic technology in its mediation, simulation and representation of human bodies.