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Dissertations / Theses on the topic 'Moving Images'
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Connors, Betsy. "Holographic moving images." Thesis, Massachusetts Institute of Technology, 1986. http://hdl.handle.net/1721.1/65217.
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Delopoulos, Athanasios. "Coding techniques for moving images." Thesis, Imperial College London, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.338648.
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Kim, Jin-Seo. "Evaluation of image quality for still and moving images." Thesis, University of Leeds, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.496538.
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Baron, Joshua Joseph. "The Aesthetics of Violent Moving Images." Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/101492.
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PhilosophyPh.D.
Physical violence reveals the fragility of human bodies and the vulnerability of our world. At the same time, physical violence reveals the power of the body by demonstrating the various ways in which one person may be harmed by another person. Interestingly, realistic moving images of interpersonal corporeal violence portraying this graphic and gruesome destruction are produced and consumed in mass. As such, the ubiquity of violent moving images obliges a deeper analysis to understand the phenomenon of the appeal of viewing violence. My dissertation is an effort to explicate the aesthetics of violent moving images in order to proffer a more complete explanation for the allure of a specific kind of violent imagery I call realist strong violent moving images. It will become evident that realist strong violent moving images provide a unique phenomenological experience that other kinds of violent moving images do not afford. Realist strong violent moving images ontologically fail to be reliable evidence of real live violent events, but also fail to be sufficiently obscure to provide mere mindless or thrilling entertainment. However, realist strong violent moving images afford the possibility of satisfying a desire for self-inflicted violence. As such, a deeper understanding of the allure of realist strong violent moving images provides a fuller explanation of the allure of viewing violence and moves us toward a better understanding of the allure of actual violence.
Temple University--Theses
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Ping, Xiaomeng. "Model-based enhancement of moving facial images." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0002/MQ42421.pdf.
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Scott, Guy Lindsay. "Local and global interpretation of moving images /." Brighton [East Sussex] : University of Sussex, School of Social Sciences, Cognitive Studies Programme, 1986. http://doi.library.cmu.edu/10.1184/OCLC/17842732.
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Shihipar, Thariq. "Video In PubPub : moving images in context." Thesis, Massachusetts Institute of Technology, 2016. http://hdl.handle.net/1721.1/107552.
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Thesis: S.M., Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2016.Cataloged from PDF version of thesis.
Includes bibliographical references (pages 61-63).
Video has become so easy to make and distribute that it is becoming the most common way to describe many processes and ideas. However, it is often not effective at doing so. Within a context of a larger document, video is rarely a good citizen compared to text or images. It takes over the users attention and rarely points to other parts in the document.The video itself may be poorly made or it may demand too much time and investment on the part of the viewer relative to the content it provides. This thesis attempts to tackle this problem for a specific but useful circumstance: academic publishing. In this thesis, I develop and study two novel methods of using interactive video within an academic document for instruction and peer review. StepByStep explores how we can create a better tool for instruction and documentation of methods. A key property of good documentation is that it is easily skimmable for relevant information. StepByStep breaks down a video into steps and arranges them spatially so that users can skim and scroll through the steps to find what they're looking for. VideoComments is an attempt to create an alternative method of leaving feedback to a document. By pairing a video recording of a user along with their actions on the document, we allow users to reference images and embeds easily, quickly switch between different parts of the document and record their thoughts in real-time. Finally, this thesis creates an infrastructure in which interactive video applications such as StepByStep and VideoComments can be integrated into academic publishing standards and platforms.
by Thariq Shihipar.
S.M.
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Scott, G. L. "Local and global interpretation of moving images." Thesis, University of Sussex, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.373294.
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Lindeman, Philip A. "A reduced-order Kalman filter for moving images." Thesis, Monterey, California. Naval Postgraduate School, 1989. http://hdl.handle.net/10945/26209.
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Polomski, Mark Daniel. "Motion compensated interpolation for subband coding of moving images." Thesis, Massachusetts Institute of Technology, 1993. http://hdl.handle.net/1721.1/37510.
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Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 1994.Includes bibliographical references (leaves 108-119).
by Mark Daniel Polomski.
M.S.
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Davies, Mark Philip. "Moving Images : The Practices and Politics of Displaying Family Photographs." Thesis, Keele University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.522673.
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Brebenel, Mihaela. "Moving images in Romanian critical art practice and recent history." Thesis, Goldsmiths College (University of London), 2016. http://research.gold.ac.uk/19103/.
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This thesis approaches contemporary moving image artworks from Romania in order to critically revisit key events, moments and situations in the country’s recent history. Responding to a gap in the literature on Romanian art, it addresses the relations between moving image practices and the socio-political transformations that have taken place in the country over the last three decades. This is achieved by considering the role of moving images in two major events – the Romanian 1989 revolution and the June 1990 anti-government protests – and by mapping critical moving image art practice from the communist period to the “postcommunist condition” and the context of post-2008 economic crisis. In addition, this thesis investigates how moving image art can be used to assess the contemporary Romanian situation. The main argument is that responding to these recent transformations is an urgent political task, one that few artists have addressed themselves to date. A constellation of moments from the recent Romanian past is thus assembled in order to explore the possibilities of thinking and writing about history that are evoked through moving images. The analysis focuses on a selection of works by artists Ion Grigorescu, Harun Farocki and Andrei Ujică, Mona Vătămanu and Florin Tudor, and, Joanne Richardson, each of whom have responded to this political task in a particular way.
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Vogt, Naomi. "Inventing ritual : moving images of social reality in contemporary art." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:b40ab0c1-e70a-422b-b033-d4b6e3f45881.
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Ritual is a notion that the art world has increasingly reclaimed. From critical writing that zealously identifies rituals to artists who qualify their work as ritualistic, the notion circulates, poking at the boundaries of art practice. The pattern raises critical questions for art history: does it vanish the distinction between art and social practices, casting art's separation from ritual as a passing historical phase? What are the distinctions in the first place between representing and producing a ritual? These concerns come to the fore with moving images, given that ritual has long been at the heart of ethnographic film, while the very act of filming is becoming central to a growing number of social customs. Addressing these relationships, this thesis focuses on video work since the late 1990s. The thematic research moves through three case studies: series of works by Mike Kelley, Pierre Huyghe, Ryan Trecartin and Lizzie Fitch, while keeping a comparative view towards other observers and producers of ritual in premodern painting, ethnographic filmmaking, post-internet practices, mainstream cinema, and homemade videos. Among the most influential artists at the turn of this century, Kelley, Huyghe, Trecartin and Fitch share the singular practice of restaging, for and through film, the rituals that surround them, from high school hazing and carnivals to coronations, corporate team-building, Halloween, Valentine and May Days, suburban street fairs, birthdays, and the new observances of social media. Through close study of the artworks and of moving image tropes that shape social imaginaries, the thesis suggests that these artists produce new insights into contemporary human behaviour. While art and ritual tend to be tackled as coded objects to be deciphered, holding condensed information about the societies to which they point, anthropological theory that considers ritual for what it does (rather than what it symbolises) invites us to examine them instead as practices where portions of social reality are produced - formalised and reinvented.
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Zhang, Jun Feng. "An adaptive algorithm for the compression of moving medical ultrasonic images." Thesis, University of Ulster, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.414072.
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Nevill, Alexander. "In light of moving images : technology, creativity and lighting in cinematography." Thesis, University of the West of England, Bristol, 2018. http://eprints.uwe.ac.uk/35477/.
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Thesis This practice-led doctoral research examines lighting techniques used by cinematographers and more widely amongst practitioners working with moving imagery. The widespread adoption of digital technologies in the film production industry has received a good deal of critical attention from practitioners and scholars alike, however little specific consideration about changing lighting practices can be found amongst this discourse. The control and orchestration of lighting have significant aesthetic connotations for moving image work, so it is surprising that this practice remains an under-explored area in the digital age. Informed by a series of research-driven experimental installations and collaborative cinematography work on independent films, presented in a separate portfolio, this thesis offers an understanding of how light is orchestrated during the production of moving imagery through direct creative inquiry. The contribution to knowledge made through this doctoral research is distilled into three areas. First, understanding lighting in moving image production through a relational, new-materialist perspective which foregrounds the flow and energy of light as a generative force and a cultural and creative process. Second, providing a more detailed first-hand investigation into lighting processes than is currently available that uses autoethnographic methods to capture practical knowledge that is deployed in situ during moving image production. Third, offering a new approach to the relationship between a cinematographer and his/her equipment by applying the actor-network theory framework to the consideration of moving image, and explicitly lighting technologies. The new-materialist perspective outlined in this thesis provides a strong foundation for further studies of lighting in emerging forms of moving image production because of its emphasis on process and a practitioner’s correspondence with light. This theoretical framework offers an effective way to understand and analyse creative lighting work across changing technologies, while the insight into practical processes captured during this enquiry can be employed directly in cinematography education. Portfolio Developed between 2014-2017 as part of a doctoral research enquiry, In Light of Moving Images brought together a series of film and video works by cinematographer and filmmaker Alexander Nevill. The exhibition included five research-driven moving image installations as well as three single screen short films created collaboratively in the role of Director of Photography. Although varied in form and production context, these works all investigate cultural and creative orchestrations of light on screen. Providing visual documentation, this publication serves as a record of the exhibition and, moreover, offers an account of the practice-led research journey through which it emerged. The following pages incorporate written contextual insights about each practical work, describe the timeline of and rationale behind them and also include a variety of supplementary artefacts such as sketches, lighting diagrams and photographs of the work in progress to reveal creative processes. Traditionally considered the responsibility of a cinematographer, lighting in a filmmaking context refers to the arrangement of illumination sources around a location or set to create a specific aesthetic. Expanding this term, lighting can also refer to creative control over the passages of illumination which constitute moving imagery, shaping ways that audiences perceive the frame. Selected amongst a larger body of cinematography and moving image experimentation, the work in this portfolio and exhibition engages with both facets of lighting, taking the form of spatial projections that weave together light in and of moving imagery while questioning the material tensions of mediated illumination.
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Tang, Funing. "Films on Paper: Adaptation of Eileen Chang's Novels." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_theses/203.
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Eileen Chang (1920-1995), a legendary female writer in Chinese literature history, lived in the most turbulent time of contemporary China. Her works are all about love. Her characters are all insignificant people, unrealistically invested with illusory dreams of life, but meanwhile, absorbed by worldly pursuits and pleasures. And her tone is desolate. People worship her, both as a great writer and as a mysterious woman. From 1980s, the fascination with her and her literature overtly announces itself in Chinese language cinema. Several critically acclaimed directors have intended to adapt her aura and charisma through adapting her literature. But, the result of their efforts is not optimistic; the disparity between the films and the novels still has been widely sensed. My thesis focuses on the film adaptations of her novels. I intend to explore this woman?s world through cinema; precisely, through the unexpected gap between her novels and their film versions, in order to explore the reality and moods in her mind that are hard to visualize. The same events, moments and situations presented in both the novels and the films also offer great opportunities for the comparison of two different ways of story-telling.
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Bhanji, Altaz. "Detecting and locating moving objects in images taken from a mobile robot." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37257.pdf.
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Leyssen, Sigrid. "Perception in Movement. Moving Images in Albert Michotte's Experimental Psychology (1881-1965)." Thesis, Paris, EHESS, 2017. http://www.theses.fr/2017EHES0142.
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J’explore de nouvelles façons d’étudier l’histoire et l’historicité de la perception, à travers un double portrait du psychologue francophone Albert Michotte, et de la collection de ses disques en papier. Leur interaction produit de nouvelles images expérimentales, éclaircissant les complexités de la perception. J’ai navigué différents archives, archives d'objets et collections d’instruments en Belgique, en France et en Allemagne. La découverte de nouvelles sources et mes ré-animations historiques m’ont permis de combiner l’histoire des sciences et l’étude des médias, touchant sur l’histoire de la philosophie et de la religion. Le portrait de Michotte dévoile une figure qui fait le pont entre différents paradigmes psychologiques, science et religion, filmologie et phénoménologie expérimentale, aussi bien qu’un diplomate des sciences traversant deux guerres, des politiques religieuses et des changements institutionnels. Etudier les paradoxes qu’il incarnait devient ainsi un outil d’historiographie. Le portrait des disques, contextualisé en termes de 'contextes d’action', montre comment ils sont liés à la pratique expérimentale, le cinéma, l’art et la culture matérielle du laboratoire. Ce double portrait montre comment Michotte et les disques créèrent ensemble des images en mouvement afin d’étudier les perceptions dynamiques, telle que la perception de la causalité. Le mouvement est essentiel à cette thèse, car il permet de comprendre comment de telles perceptions son générées et transportées. L’étude de ces perceptions permet de saisir comment la perception dépend d’un contexte, se forme à travers des inter-actions, et change – montrant son historicitéI explore new ways to study the history and historicity of perception, through a double portrait: of the francophone psychologist Albert Michotte, and of a set of well-preserved rotating paper discs. In their interaction, new experimental images were generated, shedding light on the intricacy of perception. I have searched different archives, object-archives and instrument collections in Belgium, France and Germany. Newly discovered sources, together with my historical re-animations, allowed me to combine history of science with media studies, in close interaction with the history of philosophy and religion.The portrait of Michotte shows a bridging-figure between different psychological paradigms, science and religion, filmology and experimental phenomenology, performing science diplomacy to navigate two wars, religious politics and institutional change. Studying the paradoxes he embodied is developed into a historiographical tool. The portrait of the discs, contextualised in terms of 'action contexts', shows how they related to experimental practice, cinema, art and the material culture of the laboratory. This dynamic double portrait shows how Michotte and the discs together create moving images for the study of dynamic perceptions, such as the perception of causality. Motion is central to this thesis, not only for explaining the dynamic perception of movements, but especially for understanding how such perceptions are generated and transported. Studying these 'movement-perceptions' makes it possible to grasp how perception is context dependent, how it is shaped through inter-actions, and how it changes – giving it a history
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Bryan-Kinns, Nicholas Jonathan. "A framework for modelling video content." Thesis, Queen Mary, University of London, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.287876.
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NOVELLINO, MARCIA OLIVE. "MOVING IMAGES: MULTIMODALITY IN THE TEACHING MATERIALS FOR ENGLISH AS A FOREIGN LANGUAGE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2011. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=20588@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROA multimodalidade é um campo de estudo que vem chamando a atenção da comunidade acadêmica e intelectual, cujas investigações visam compreender a relação entre os diversos modos de produção e interpretação do significado na sociedade atual. O tema é de grande interesse para o ensino de inglês como língua estrangeira, considerando o volume de materiais que apresentam múltiplos modos de comunicação. O presente estudo se propõe a investigar as imagens em movimento que acompanham uma série de livros e material didático e visa, assim, contribuir para as pesquisas cujo foco é a relação entre os modos presentes em textos multimodais. A pesquisa está inserida num paradigma qualitativo-interpretativista (Erickson, 1996; Moita Lopes, 1994, 1996), nas áreas da multimodalidade e linguística aplicada. Tratando de questões envolvendo multiletramento (Kress, 2000, 2005; Cope e Kalantzis, 2000; Rojo, 2009) e o ensino de língua inglesa, a estrutura da pesquisa está construída dentro de uma perspectiva sociossemiótica (Halliday, 1978) de abordagem de significados. Nessa elaboração, os significados são tratados como uma construção social (Halliday e Hasan, 1989; Halliday, 1994; Halliday e Matthiessen, 2004). A sociossemiótica dá suporte aos estudos multimodais (Kress e van Leeuwen, 1996, 2006; Kress; 2010; van Leeuwen, 2005), pois possibilita tratar os modos acionados numa interação como oferecendo potencial para a realização do significado em diferentes contextos. Duas abordagens analíticas orientam o estudo: a. análise sociossemiótica multimodal (Kress, 2009, 2010; Kress e van Leuween, 1996, 2006) e b. análise multimodal interacional (Norris, 2004, 2009), visando investigar as imagens em movimento que compõem o DVD presente em níveis distintos de uma série de livros e materiais didáticos para ensino de língua inglesa e examinar a relação entre os modos presentes nas imagens e os modos privilegiados nas atividades pedagógicas propostas pelo livro didático. Os estudos de Baldry e Thibault (2006) para transcrições multimodais e de Norris (2004) para investigações de modos comunicacionais oferecem suporte metodológico para as análises. A investigação procura destacar os tipos de enquadres, a posição dos participantes dentro deles, assim como evidenciar os modos presentes, configurar as ações, hierarquizá-las e identificar a densidade modal. A investigação foca, também, na análise das atividades pedagógicas existentes na unidade do livro didático relacionadas às imagens. A análise das atividades pedagógicas está dirigida para a relação entre os modos mais destacados em cada atividade e a imagem em movimento correspondente. Os resultados do presente estudo destacam o caráter multimodal das imagens em movimento, especialmente a multiplicidade de significados disponibilizados pelos enquadres que abrangem a variedade de modos acionados em interações sociais e as diferentes negociações de significado entre os participantes. A pesquisa mostra que, no material para ensino de inglês investigado, o letramento multimodal tem seu foco principal na escrita e na fala da língua inglesa. Outros modos presentes nas imagens em movimento não são destacados nas atividades pedagógicas analisadas. Os resultados apontam para a necessidade de elaboração de um design pedagógico para o ensino de língua inglesa que possa abranger os diversos modos e significados presentes em livros e materiais didáticos.
Multimodality is a research area that has recently gained attention in academic and intellectual communities, because of the interest in understanding the interconnections between various modes of communication in contemporary society. The topic is of great interest for English language teaching, considering the wealth of materials that combine the various modes of communication. The present study focuses on the moving images in an English language course book and other teaching material, with the objective of contributing to investigations on the diversity of modes in multimodal texts. The study follows a qualitative-interpretative paradigm (Erickson, 1996; Moita Lopes, 1994, 1996) as used in the areas of multimodality and applied linguistics. Designed to address questions concerning multiliteracies (Kress, 2000, 2005; Cope e Kalantzis, 2000; Rojo, 2009) and English language teaching, the theoretical structure is based on a social semiotic perspective (Halliday, 1978) of looking into meaning. In this perspective, the elaboration of meaning is treated as a social construct (Halliday and Hasan, 1989; Halliday, 1994; Halliday and Matthiessen, 2004). Social semiotics, as formulated by Halliday in his Systemic Functional Linguistics, thus provides the theoretical support for multimodal studies (Kress e van Leeuwen, 1996, 2006; Kress; 2010; van Leeuwen, 2005) since it shows how modes working together in an interaction can potentially realize meaning in different social, situational and cultural contexts. The study uses two multimodal approaches: a. social semiotic multimodal analysis (Kress, 2009, 2010; Van Leuween, 2005; Kress e van Leuween, 1996, 2006) and b. an interactional multimodal analysis (Norris, 2004, 2009), in order to investigate DVD moving images of a series of English language course books and material and also examine the relationship between the modes in images and the modes in the pedagogical activities for the books. The studies by Baldry and Thibault (2006) for multimodal transcriptions and Norris (2004) for communicative modes investigation provide the methodological support for the analysis. This investigation has several objectives: to identify types of framing and the position of participants within the frames; to set apart the modes; to determine modal configuration; and to place them hierarchically in terms of modal density. The investigation also analyzes the pedagogical activities in the unit and the related moving images. The teaching activities are analyzed considering the relation of the dominant modes with each other and with the corresponding image in each activity. The results of the present study highlight the multimodal character of the moving images, especially the multiplicity of meanings made available through framing, which entails the variety of modes used in social interactions and the different negotiations of meaning between participants. The research shows that, in these materials for English teaching, multimodal literacy is restricted mainly to writing and speaking. The other modes that are present in the moving images are not foregrounded in the teaching activities analyzed. The results point to the need for a pedagogy designed for English teaching that will include the diversity of modes and meanings in teaching materials.
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Chiarini, Alessandra <1984>. "Still/moving images. Il rapporto dialettico tra cinema e fotografia nelle pratiche artistiche contemporanee." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2015. http://amsdottorato.unibo.it/6992/.
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Tra le plurime conseguenze dell’avvento del digitale, la riarticolazione dei rapporti tra immagine statica e immagine in movimento è certamente una delle più profonde. Sintomatica dei cambiamenti in atto sia nei film studies sia nella storia dell’arte, tale riarticolazione richiede un ripensamento dei confini disciplinari tradizionali entro cui il cinema e la fotografia sono stati affrontati come oggetti di studio separati e distinti. Nell’adottare un approccio molteplice, volto a comprendere prospettive provenienti dalla New Film History e dalla media archaeology, dalla teoria dell’arte e dagli studi visuali, questo lavoro esplora l’esistenza di una relazione dialettica tra il cinema e la fotografia intesa in modo duplice: come tensione costitutiva tra due media indissolubilmente connessi – non tanto in considerazione di un medesimo principio realistico di rappresentazione quanto, piuttosto, in virtù di uno scambio incessante nella modellizzazione di categorie quali il tempo, il movimento, l’immobilità, l’istante, la durata; come istanza peculiare della pratica artistica contemporanea, paradigma di riferimento nella produzione estetica di immagini. La tesi si suddivide in tre capitoli. Il primo si concentra sul rapporto tra l’immobilità e il movimento dell’immagine come cifra in grado di connettere l’estetica delle attrazioni e la cronofotografia a una serie di esperienze filmiche e artistiche prodotte nei territori delle avanguardie. Il secondo capitolo considera l’emergenza, dagli anni Novanta, di pratiche artistiche in cui l’incontro intermediale tra film e fotografia fornisce modelli di analisi volti all’indagine dell’attuale condizione estetica e tecnologica. Il terzo offre una panoramica critica su un caso di studio, la GIF art. La GIF è un formato digitale obsoleto che consente di produrre immagini che appaiono, simultaneamente, come fisse e animate; nel presente lavoro, la GIF è discussa come un medium capace di contraddire i confini attraverso cui concepiamo l’immagine fissa e in movimento, suggerendo, inoltre, un possibile modello di pensiero storico-cronologico anti-lineare.Among the numerous consequences of the advent of the digital age, the redefinition of the boundaries between still and moving images is certainly one of the deepest. Closely connected to the changes that are now occurring in film studies and art history, this redefinition requires a rethinking of the traditional borders between cinema and photography. Adopting perspectives belonging to New Film History, media archaeology, art theory and visual studies, the present work aims at exploring the existence of a dialectical relationship between cinema and photography. This dialectic is understood in a double sense: on the one hand, as a constitutive tension between two media that are inextricably linked in shaping time, movement, immobility, instant and duration, and, on the other hand as a new paradigm in contemporary art. The dissertation is subdivided into three chapters. In the first one the dialectical relationship between movement and stillness is the key to understanding some connections between early cinema's aesthetic of attraction, chronophotography and avant-garde. The second chapter considers the emergence, since the 1990s, of artistic practices that aim at employing cinema and photography in order to reflect current aesthetic and technological conditions. The third chapter offers a critical overview of the case study of GIF art. GIF is an obsolete digital format that allows images to be produced that seem to be simultaneously still and moving; in the present work, GIF is discussed as a medium able to contradict the boundaries between still and moving images, suggesting furthermore a possible conceptual model for thinking about time and history in a discontinuous way.
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Torres-Barreto, Jose Antonio. "dis.PLAY - Center for the Art of Moving Images. A Film Center for Washington, D.C." Thesis, Virginia Tech, 2006. http://hdl.handle.net/10919/31337.
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This thesis explores how a displayed image and architecture interact together. This manifesto is analogically explored using parts of the human body such as the eyeballs as a structural analysis for the buildings with a projection of the cornea, the pupil, the retina, the optic nerves and the brain. This analysis follows a sequential order of capturing light, transcribing light into image, and displaying such image onto a screen. Both, the image and architecture are created parallel to each other respectively when conceiving an architectural idea in order to develop the idea into a building and then perceiving the architecture from such building.
These steps are a cinematic approach using a video camera to record an experience of movement through the journey of a metro ride. This video is one of the tools used to edit an urban tissue of downtown Washington, D.C. The project becomes a Center for the Art of Moving Images exposing vectors of movements through its architecture. The building is manifested in a three-dimensional design where the site provides a sunken plaza 60 ft below street level perceived as a new floor in the city. The underground metro station transitions to the street surface through the use of this plaza in a very harmonious way. The result is a visual depth parallel to the perspectives perceived in movies where you see beyond the surface of the screen and in this case, beyond the surface of the city.Master of Architecture
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Pereira, João Victor Amorim. "Preservação de imagens em movimento: um estudo sobre a situação de acervos públicos de Salvador." Instituto de Ciência da Informação da Universidade Federal da Bahia, 2016. http://repositorio.ufba.br/ri/handle/ri/21745.
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A pesquisa investiga o processo de preservação de imagens em movimento, trabalho feito comumente em arquivos e centros de documentação audiovisuais. Partindo de conceituações de preservação em sentido amplo passa para aspectos considerados importantes ao complemento do estudo da preservação audiovisual, como suportes de imagens em movimento, visando à reflexão sobre a linguagem audiovisual. Para a pesquisa empírica foram analisadas 35 instituições das esferas federal, estadual e municipal da cidade de Salvador na Bahia, que num primeiro momento, entre 2005-2007, na Fase 1 da pesquisa em execução no Grupo CRIDI, haviam respondido formulários impressos, e que, posteriormente, na Fase 2, 20132016, tornaram a responder um novo questionário, desta vez online, cujos dadosderam origem às análises desta dissertação. Procurou-se adotar procedimentos metodológicos comparativos, de modo a observar as possíveis mudanças ocorridas.Foram investigados aspectos relativos ao tipo de acervo, digitalização, recursos disponíveis, suportes usados, métodos e sistemas de disponibilização do acervo ao público, políticas do arquivo, dentre outros, buscando observar na prática as questões abordadas de forma teórica com base na bibliografia. O método de abordagem indutiva e técnicas de amostragem não aleatória por julgamento foram utilizados na pesquisa. A observação direta intensiva foi outra técnica de grande valor para a pesquisa, balanceando com a observação direta extensiva. A pesquisa constatou uma carência, ainda, de estudos e programas de preservação audiovisual assim como o despreparo de muitos profissionais que atuam nos acervos.
ABSTRACT The research investigates the moving images preservation process, work commonly done in archives and audiovisual documentation centers. Starting from preservation concepts in a broad sense, it goes through important aspects to the complement of the audiovisual preservation studies, such as moving images media and carriers, in order to think about audiovisual language. As empirical research, 35 institutions (from Federal, State, and Municipal levels) in the city of Salvador in Bahia were analyzed.Those institutions had answered printed forms in a very first moment, between 2005,2007,in Phase 1 of a research in development in Grupo CRIDI. Later, in the research’s Phase 2, 2013-2016, we returned to the same institutions, in order to collect new data, this time using an online form. This Master thesis aimed to analyze these second data set, which are, in fact, the origin of this research. We tried to adopt comparative methodological procedures in order to observe eventual changes. Aspects related to the type of the collection; digitization; available resources; media and carriers; available public systems and methods to give access to the collection;archival policies, among others, aiming to observe, in the real world, the issues addressed theoretically, based on the literature. The inductive method of approach,and non-random sampling techniques were adopted in this research. The intensive direct observation was another technique of great value adopted in this research,balancing with of extensive direct observation. Among its conclusions, the research points out a lack of studies and programs oriented to audiovisual preservation, aswell as of professional formation, skills and abilities of many technicians who work with the collections.
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Reza, Hasnain. "Detection, location, and trajectory tracing of moving objects in the real world two-dimensional images." Ohio : Ohio University, 1988. http://www.ohiolink.edu/etd/view.cgi?ohiou1182869492.
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Koch, Nicola. ""An organized mass of images moving forward" : Motive und Motivstrukturen im Romanwerk von John Updike /." Essen : Verl. die Blaue Eule, 1995. http://catalogue.bnf.fr/ark:/12148/cb38876085z.
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Barbieri, Marchi Paololuca. "Turbo film as artistic apparatus and as manifesto for the uncertain future of moving images." Thesis, University of Plymouth, 2018. http://hdl.handle.net/10026.1/11958.
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The following research is a practice-based Ph.D. in filmmaking that proposes to define an unclassified film genre and its specific artistic practice. This practice, at the intersection of experimental films, art-cinema and Youtube user- generated videos, I refer to as “Turbo Films.” Beginning with a critical perspective on video art and experimental film history, as it relates to today’s public approach towards the production of moving images, the concept of “Turbo Films” is proposed as an opportunity to understand new trajectories in the production of image-culture, and as holistic modus operandi for the current cross-media environment. Turbo Films have been the natural offspring of a specific methodology and approach to cinematic production, that was shared horizontally in within my collective. Our structure, with no hierarchies or role's definitions, offered a fluidity in the production of content, that became the perfect ground for the rise of this specific format. In the first section I focus on the recent history of art and filmmaking in the production of moving images. Through a selection of theories and their critiques, I identify the need for a holistic strategy to integrate different practices and methodologies for a new, organic form of cultural production. I then propose and define Turbo Films as a new possible trajectory, an integrated toolset that combines research, writing, filmmaking, visual art performance, and political activism. At the end of this section I also explore Turbo Films specific media context, focusing on a new trajectory for cinematic narrative structures that I define as expanded journalism. A new group of filmic works that emerges from the encounter between investigative journalism practices and creative activists and artists attitudes and tactics. This first section will outline the conceptual milestones and the development of theories from which the practice of Turbo Films derives. Each of the concepts analyzed in this first section will be then integrated in the constitution of the Turbo Film Manifesto and its consequential practical outcomes. In the second section I will introduce the background of each Turbo Film and examine some of the most significant scenes, characters, and specific features, focusing on the praxis and highlighting some of the theoretical aspects and the creative processes behind them. The final outcome of the thesis is the Turbo Film Manifesto, intended as a “rhetorical dispositive” to trigger the creation of new cross-platform media objects in today visual culture context. The Turbo Films produced during the course of my research have the double function of defining a practice and testing its theoretical framework. In this research I will show how Turbo Films have the potential to become a new powerful cinematic dispositive that enables cross-cultural interferences between media and their contexts.
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Clayman, Valérie Robin. ""I'm Supposed to Relate to This?": A Trans Woman on Issues of Identification with Trans Moving Images." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/32929.
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This thesis challenges common assumptions of trans moving images by applying theories of identification to an autoethnographic close reading of three specific texts – Hedwig and The Angry Inch (John Cameron Mitchell, 2001), Dallas Buyers Club (Jean- Marc Vallée, 2013) and Transparent (Jill Soloway, 2014) - considered by both mainstream and queer audiences to feature transgender characters and experiences. This thesis, while limited to the author’s experience as a trans woman, attempts to advance the argument that identification with trans moving images may change with one’s transition and require a reassessing of “what is trans” along with resituating the trans spectator from “object of the gaze” to “bearer of the look” (Mulvey, 1975).
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Poon, Ho-shan, and 潘浩山. "Visual tracking of multiple moving objects in images based on robust estimation of the fundamental matrix." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B4322426X.
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Poon, Ho-shan. "Visual tracking of multiple moving objects in images based on robust estimation of the fundamental matrix." Click to view the E-thesis via HKUTO, 2009. http://sunzi.lib.hku.hk/hkuto/record/B4322426X.
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Berinde, Ruxandra. "Moving images of home : tracing an architectural phenomenography through the films of Ingmar Bergman and Andrei Tarkovsky." Thesis, University of Sheffield, 2016. http://etheses.whiterose.ac.uk/12658/.
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The research started by asking the question: "How is the meaning and memory of home communicated through the films of Ingmar Bergman and Andrei Tarkovsky?" The meaning this question was seeking entailed elements such as architectural experience, perception, memories and dreams, and the research thus enquired film's mechanisms for rendering legible such ineffable concepts, with a focus on the two particular case studies of Tarkovsky and Bergman. Building upon claims that film has the ability to communicate direct experiences of lived space, the thesis peruses theoretical intersecting findings that encircle the research quest: architecture and film, phenomenology, as well as other adjacent fields. The aim is to draw creative splices that outline an original view on the architectural experience of home, as read throughout the work and life of these two artists. Therefore, among the main outputs of the thesis was to rewrite the biographies of Bergman and Tarkovsky based on their spatial element, a recreated life-writing in which place gains a central role of life journeys and choices. From these reconsidered biographies, new understandings about home, dwelling and place attachment are drawn. The methodological aim of the study is to propose an architectural phenomenography (literally a writing of phenomena), a redefined view on architectural phenomenology that uses autobiographical film as a research tool to allow explorations on the concept of home. The established routes of phenomenological inquiry make use of linguistic material in order to read and write descriptions and in such a manner to reach the essence of phenomena. By replacing the majority of the linguistic research data with audiovisual material provided by the films, the novelty of the present approach lies in considering moving images as portent of inscribed phenomenological descriptions, legible through film viewing. The essential factors for selecting Bergman and Tarkovsky as the case-study filmmakers was the strength of their works to communicate the space of home in its lived form. Due to this peculiar quality, the present study looked at these works attempting to trace a method of writing spatial experience on the imponderable surface of film. Throughout the thesis, this method was termed as architectural phenomenography, and it was defined as a communicative medium through which, once spatial experiences have been written on film, they silently await a proper deciphering. This study therefore strives to answer the silent call of these experiential moving images and to disclose them as categories of architectural experiences.
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D'Artois, Karen Marguerite. "Exploring our images of God moving from "patron" to "friend of women" : an integrating course for initial formation /." Chicago, IL : Catholic Theological Union at Chicago, 2008. http://dx.doi.org/10.2986/tren.033-0855.
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To, Thang Long Information Technology & Electrical Engineering Australian Defence Force Academy UNSW. "Video object segmentation using phase-base detection of moving object boundaries." Awarded by:University of New South Wales - Australian Defence Force Academy. School of Information Technology and Electrical Engineering, 2005. http://handle.unsw.edu.au/1959.4/38705.
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A video sequence often contains a number of objects. For each object, the motion of its projection on the video frames is affected by its movement in 3-D space, as well as the movement of the camera. Video object segmentation refers to the task of delineating and distinguishing different objects that exist in a series of video frames. Segmentation of moving objects from a two-dimensional video is difficult due to the lack of depth information at the boundaries between different objects. As the motion incoherency of a region is intrinsically linked to the presence of such boundaries and vice versa, a failure to recognise a discontinuity in the motion field, or the use of an incorrect motion, often leads directly to errors in the segmentation result. In addition, many defects in a segmentation mask are also located in the vicinity of moving object boundaries, due to the unreliability of motion estimation in these regions. The approach to segmentation in this work comprises of three stages. In the first part, a phase-based method is devised for detection of moving object boundaries. This detection scheme is based on the characteristics of a phase-matched difference image, and is shown to be sensitive to even small disruptions to a coherent motion field. In the second part, a spatio-temporal approach for object segmentation is introduced, which involves a spatial segmentation in the detected boundary region, followed by a motion-based region-merging operation using three temporally adjacent video frames. In the third stage, a multiple-frame approach for stabilisation of object masks is introduced to alleviate the defects which may have existed earlier in a local segmentation, and to improve upon the temporal consistency of object boundaries in the segmentation masks along a sequence. The feasibility of the proposed work is demonstrated at each stage through examples carried out on a number of real video sequences. In the presence of another object motion, the phase-based boundary detection method is shown to be much more sensitive than direct measures such as sum-of-squared error on a motion-compensated difference image. The three-frame segmentation scheme also compares favourably with a recently proposed method initiated from a non-selective spatial segmentation. In addition, improvements in the quality of the object masks after the stabilisation stage are also observed both quantitatively and visually. The final segmentation result is then used in an experimental object-based video compression framework, which also shows improvements in efficiency over a contemporary video coding method.
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Øvland, Ragnhild. "Coherent Plane-Wave Compounding in Medical Ultrasound Imaging : Quality Investigation of 2D B-mode Images of Stationary and Moving Objects." Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for fysikk, 2012. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-18834.
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Coherent plane-wave compounding is the coherent summation of several successive plane waves incident at different angles. This thesis presents results from simulations and in vitro and in vivo measurements of stationary and moving objects, with focus on loss of resolution and contrast due to object motion. Resolution and contrast results for several angle selections, angle sequences and object velocities with and without motion correction have been compared.It is shown that using a subset of plane-wave tilt angles by decimating the optimal selection introduces grating lobes which degrades the image contrast, while imaging with a lower maximum tilt angle degrades the lateral resolution. The contrast loss for decimation factor 2 was more significant for simulations than for in vitro measurements. While the contrast went from -40 to -30 dB for the simulations, a decimation factor of 4 was needed to degrade the contrast significantly for the measurements. Decimating the angle selection by a factor of 2 doubles the achievable frame rate. A reduction in maximum angle from 13.7 to 8.2 deg., which corresponds to an increase in transmit F-number from 2.1 to 3.5, gives less than 0.3 mm degradation of lateral resolution. The lateral resolution is of the order of 1 mm. This reduction in maximum angle increases the frame rate by a factor of 1.2.Axial point scatterer velocity leads to considerably worse image quality than for stationary scatterers, while the effect of lateral scatterer velocities is limited. The degree of contrast and resolution loss due to object motion is dependent on the selection of plane waves which constitute a frame, and the sequence in which the plane waves are transmitted. Using a subset of the optimal angle selection leads to improvement in image quality for an axial velocity of 10.0 cm/s for decimation factor 4, but not for decimation factor 2, even though the total scatterer movement per frame is reduced by the reduction of transmitted plane-waves. The loss of quality due to motion was less for fewer tilt angles, but the total image quality was still worse for many of these sets of angles due to grating lobes.The unwanted effects of motion for in vivo-measurements were not seen to the same extent as for simulated point scatterers, and working with the coherent plane-wave compound seems promising for moving objects.
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Florack, Franziska. "Nurturing writing skills in the primary literacy lessons of the 'City of Film' : the impact of using moving images on attainment and motivation." Thesis, University of Bradford, 2016. http://hdl.handle.net/10454/15901.
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Despite a constant rise in the attainment of Sats results year on year, the perception remains that British primary school children are underachieving and that they are reluctant readers and writers. In order to motivate their students, some teachers use films as a visual stimulus to provide students with ideas and create a personal and emotion connection with the written text. In the school years of 2013/14 I followed 21 primary classes which were taking part in a ‘film literacy’ scheme run by Bradford UNESCO City of Film. This initiative saw the training of teachers in the use of film as a tool in literacy lesson with the hope to raise attainment and motivation. Students and teachers completed questionnaires and interviews which were analysed in conjunction with observations and the students’ literacy grades. The research showed that both students and teachers recorded an increase in motivation. Further, significant progress in attainment also became evident: film literacy students raised their grades by 23.3% beyond the expected year-on-year increase. Improvements in inference, comprehension and vocabulary were especially praised. Students from schools with a low-income environment benefitted in particular. The research discusses six potential reasons for these changes, two of which are based on the belief that film is a particularly suitable medium for teaching as it engages students emotionally. Although the thesis acknowledges that Bradford involved a unique group of schools in the film literacy training and research, it nevertheless argues that film could be useful addition to primary classrooms due to its potential ability to raise standards and engage reluctant young writers.
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Soares, Miro. "Itinéraires imprécis et leurs images possibles : éléments pour une esthétique de la mobilité." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010564.
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Cette thèse de doctorat examine comment la mobilité peut devenir la base d’un processus de création dans le champ de l’image en mouvement. Je propose un cadre de travail dans lequel l’ouverture d’esprit caractéristique de la mobilité volontaire est associée à une ouverture du langage artistique. En tant qu’ensemble de déplacements physiques et mentaux entre différentes géographies et entre différentes cultures, langues et traditions, la mobilité peut déterminer à la fois une expérience personnelle et une production artistique directement liées à l’improvisation et au hasard. Cette forme de pensée nomade, ouverte à l’improvisation, à l’imprévisibilité et au risque affecte aussi les formes des œuvres, également ouvertes à divers modes d’exposition et différentes interprétations. L’étude nous révèle comment les frontières géopolitiques et artistiques se stimulent et s’affectent mutuellement et dialectiquement. Elle nous incite à réfléchir sur la question de la mobilité en même temps qu’elle participe à l’élargissement des frontières de l’image en mouvement. Autour des notions de mobilité et de création en contexte, j’examine dans cette recherche basée sur ma pratique et celle d’autres artistes quels sont les enjeux des différentes étapes du travail, depuis la conception jusqu’à la présentation finale des œuvres, qu’il s’agisse de films, de vidéos et d’installations. En articulant les dispositifs de création et de diffusion dans le but de combiner simultanément le processus de réalisation de l’œuvre et l’expérience du déplacement, une esthétique particulière émerge, basée sur la mobilité et l’expérience directe du mondeThis doctoral dissertation examines how mobility can become the basis for creative process in the field of moving image. I propose a framework where the open-mindedness characteristic of voluntary mobility is associated with an openness of artistic language. As a set of physical and psychic displacements among different geographies as well as among different cultures, languages and traditions, mobility can shape both personal experience and artistic production directly related to improvisation and chance. This nomadic form of thinking, open to improvisation, unpredictability and risk, also affects the forms of artworks that are in turn open to several ways of display as well as different interpretations. This study reveals how geopolitical and artistic borders stimulate and affect each other reciprocally and dialectically. It encourages us to reflect on the issue of mobility while simultaneously participating in the expansion of the moving image’s boundaries. Through a practice-based research around notions of mobility and creation in context, I examine embedded elements of different stages of film, video and installation production, using personal artworks and a body of references. By articulating certain devices for creation and display in order to simultaneously combine the process of the artwork’s production with the experience of the displacement, a particular aesthetic emerges, based on mobility and a direct experience of the world
Esta tese de doutorado examina como a mobilidade pode se tornar a base para um processo criativo no campo da imagem em movimento. Eu proponho um contexto de trabalho em que a abertura de espírito característica da mobilidade voluntária é associada a uma abertura da linguagem artística. Como um conjunto de deslocamentos físicos e mentais entre diferentes geografias, bem como entre diferentes culturas, línguas e tradições, a mobilidade pode determinar tanto uma experiência pessoal quanto uma produção artística diretamente relacionadas à improvisação e ao acaso. Esta forma de pensar nômade, aberta à improvisação, à imprevisibilidade e ao risco também afeta as formas das obras, igualmente abertas a vários modos de exposição e diferentes interpretações. O estudo revela como as fronteiras geopolíticas e artísticas se estimulam e se afetam reciprocamente e dialeticamente. Ele nos encoraja a refletir sobre a questão da mobilidade, ao mesmo tempo em que colabora para expandir os limites da imagem em movimento. Em torno das noções de mobilidade et de criação em contexto, nessa pesquisa prático-teórica, eu examino quais são os elementos incorporados nas diferentes fases de produção de filmes, vídeos e instalações a partir de obras pessoais e de um conjunto de referências. Ao articular os dispositivos criação e de difusão com o objetivo de combinar simultaneamente o processo de realização da obra e a experiência do deslocamento, uma estética particular emerge, baseada na mobilidade e na experiência direta do mundo
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Wiener, Maria. "Integration of live choreography with projections of 3D moving images : juxtaposition of live performers in contemporary dance with projected digital video and 3D animated dance." Thesis, University of Southampton, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.433953.
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Olhans, Ida. "Movies to enhance listening comprehension in theEFL classroom." Thesis, Högskolan Dalarna, Engelska, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:du-27440.
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Movies are an occurring feature in EFL classrooms in Sweden, as well as exercises seeking to practice listening comprehension, although, there are few studies which combine the two together. The aim for this literature review was to analyse the use of film for listening comprehension development in EFL classrooms. The results show that movies can help students reach higher levels of listening because students felt more motivated and they became more active. The results also show further that teachers can help students reach higher levels of listening comprehension by using various features such as pauses, activities before, during and after the movie etc. The results also show that listening comprehension is a somewhat “take n for granted skill” which needs to be researched more about, specifically the importance of listening comprehension in the context of the other skills.
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Laprano, Cassius Mazzo. "Sistema inteligente de reconhecimento automÃtico de placas de veÃculos." Universidade Federal do CearÃ, 2007. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=2070.
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nÃo hÃEsta dissertaÃÃo trata da localizaÃÃo de placas de licenciamento brasileiras de veÃculos particulares. Imagens de carros em movimento, advindas de diversos sistemas analÃgicos de fiscalizaÃÃo de trÃnsito, foram usadas para testar os algoritmos. Estas imagens foram digitalizadas por um scanner e convertidas para o formato JPG ou JPEG (Joint Photographic Experts Group). O sistema proposto à classificado como sistema de reconhecimento de placa de licenciamento veicular (SRPLV), cujo propÃsito à a fiscalizaÃÃo de trÃnsito. O sistema à capaz de identificar a placa de veÃculos que avanÃaram sinais vermelhos ou excederam o limite de velocidade. VÃrios algoritmos, que constituem o sistema, foram analisados e comparados com o desempenho de algoritmos similares presentes na literatura. As principais contribuiÃÃes deste trabalho sÃo: o algoritmo de localizaÃÃo da placa, baseado em uma rede neural; a utilizaÃÃo do algoritmo Min/Max no pÃs-processamento das imagens binÃrias, e o uso do mÃtodo das linhas e colunas na etapa de separaÃÃo dos caracteres. Para avaliar o desempenho do sistema, testes foram realizados usando os dois mÃtodos propostos para a localizaÃÃo, baseados na correlaÃÃo mÃxima e em uma rede neural sem realimentaÃÃo. ConcluÃmos que o Ãltimo apresentou resultados superiores ao primeiro, de acordo com os resultados obtidos para o conjunto de imagens utilizadas.
This dissertation deals with the localization of Brazilian license plates of private vehicles, and recognition of their characters. Images of moving cars, acquired by diverse analog systems of traffic law enforcement were used to test the algorithms. These images were digitalized by a scanner and finally formatted as JPG or JPEG (Joint Photographic Experts Group). The proposed system is classified as a vehicle license plate recognition system(VLPRS), whose purpose is the traffic law enforcement. The system is able to identify license plate numbers of drivers who jump red lights and exceed the speed limit. Several algorithms which constitute the overall system were evaluated and compared with the performance of similar ones from the literature. The main contributions of this work are: the localization plate algorithm, based on a neural network; the use of the Min/Max algorithm to post processing binary images, and the use of the method of rows and columns in the characters isolation step. To assess the system performance some tests were provided using the two proposed methods for plate localization which are based on the maximum correlation and a feedforward neural network. We concluded that the latter performed better than the former according to the simulation results obtained for the set of images used.
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Wong, King Yuen. "Moving image database." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ33516.pdf.
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Cotrupe, Jacqueline M. "The moving image /." Online version of thesis, 1988. http://hdl.handle.net/1850/11506.
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Yamani, Jamil Art College of Fine Arts UNSW. "The glittering city: moving the moving image." Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/40468.
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The project aims to produce an immersive video installation titled 'The Glittering City???. This project investigates contemporary cultural issues within the context of critical/specific geographical sites. These locations are the Australian coastal border, and a refugee camp near the Kenyan/Sudanese border, known as Kakuma. 'The Glittering City'is an installation that incorporates elements of video, sculpture, sound and electronics in a kinetic 2 channel immersive video and (multi-channel) audio installation. The key aims for the project are to raise awareness of the issues facing refugees and asylum seekers in relation to their sense of home. In order to accomplish this aim the research will extend upon prior research into embedded video sculptures. A subset of the key aim is to seek funding for the project. The installation is the third and final work from a trilogy of works that explores the themes journey, arrival and departure, respectively. The Glittering City is contextualised within four key areas inherent within the research practice. These key elements are 1. hybrid documentary art, 2. expanded cinema, 3. Technology and art, 4. culture and identity. Key outcomes of the research are the production and installation of The Glittering City at Campbelltown Arts Centre, May 2007. An educational program also took place at the Centre to raise awareness of the themes the installation poses. The production of a catalogue for The Glittering City is an important device for disseminating the core concepts. For the costs of making the multi-channel production, the project successfully sought grant funding from Arts NSW. This resulted in a grant through their Western Sydney I Artists' Fellowship program. The Glittering City used further funding from the Campbelltown Arts Centre to cover catalogue production, invitation design, mail out and installation costs.
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Schulmann, Clara. "Produire depuis la marge. Les motifs du décentrement dans les films d’artistes,1975-2007." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030031.
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On a qualifié de « migration des images » le déplacement des images en mouvement depuis les salles de projection jusque dans les salles des musées. Cette « migration » a d’abord constitué le socle initial de ce travail, en fixant les pourtours de son contexte : les images en mouvement, le musée et ses collections, leur dialogue depuis le milieu des années 1990. Délaissant ce sens premier de l’expression, cette étude met au travail son sens figuré : l’idée de migration convie une économie, un système d’échanges, de circulation, un type d’activité propre aux images en mouvement qui élargit ce contexte de départ. La force de ces images se loge dans un geste de décentrement. Leur mobilité les empêche d’accéder à un statut ou à une position dominante. Une résistance à la saisie globale accompagne ces images qui préfèrent les interstices, l’entre-deux, les failles, voire une certaine forme de clandestinité : elles échappent aux normes. Le décentrement qualifiera ici une méthode d’analyse, le choix d’un corpus qui va des années 1970 à nos jours, et la construction générale de cette recherche. Il permet de mesurer des distances, de saisir les sinuosités, les accidents, qui ponctuent l’histoire des images en mouvement. Point de départ : ce travail s’arrime au décentrement historique constitué par la rupture d’avec le discours moderniste dans les années 1970. Les œuvres contemporaines réunies héritent de cette éviction et la discutent. Les trois chapitres, thématiques, commentent ce décentrement qui bouscule les principes muséaux incarnés par l’institution du white cube. L’archive, le document et le jeu : trois façons de contourner les réflexes de l’essentialisme. Fondé sur des études d’œuvres, qui sont autant d’études de cas, accueillant sur un plan qui se veut tabulaire les images, les textes et les films, ce travail rend compte du savoir, étoilé et ramifié, que dispensent, de façon si singulière, les images en mouvementThe dislocation of images in motion from screening rooms to museum rooms has been addressed in terms of a « migration of images ». This « migration » was the initial foundation of the present work, determining its perimeter: images in motion, the museum and its collections, the dialogue between them from the mid-1990s onwards. Leaving behind the literal meaning of the expression, this study explores its fi gurative senses: the notion of « migration » calls for an economy, a system of exchange and circulation, an activity specific to images in motion that broadens its initial context. The power of images in motion relies upon a gesture of decentering. Th eir mobility prevents them from reaching a dominant position or attaining an important status. Th ese images resist to global analysis, preferring the interstices, the in-between, the faults, and what resembles to a form of underground activity instead. In other words, they resist the standards. Th e notion of « decentering » describes here three different dimensions: an analytical method, the constitution of a corpus ranging from the 1970s to the present-day, and the general conception of this research. Th e concept allows for the measuring of distances, the grasping of certain infl exions, or accidents, which rhythm the history of images in motion. Our starting point is the historical « decentering » illustrated by the break with modernist discourse in the 1970s. Th e contemporary works that we discuss inherit this eviction and comment on it. Our three thematic chapters comment this shift that challenges the museological principles embodied by the whitecube. Th e archive, the document and staging : three ways of circumventing the refl exes of essentialism. Based upon the close study of works, conceived as case-studies, accommodating for images, texts and films within a tabular plan, this work accounts for the singular knowledge provided by images in motion
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Petratou, Kiki. "Moving image - still life." Thesis, University of Plymouth, 2004. http://hdl.handle.net/10026.1/1084.
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"Stasis was defined according to Schrader as the form that links the everyday in something unified and permanent". Central to my research is the aim to create a still-life image from filmed scenes documenting the everyday actions in my living environment. In some cases however the scenes being staged function as allegories of the states and situations of daily life. I decided to mix staged and 'real' scenes because I did not want to create a documentary about the activities in my environment but to transform everydayness, as I perceive it, into the permanent and unified quality of the still-life genre. Since I work with video and the moving image it is important to examine structures of movement and time and see in which ways movement once disconnected from time may confront a stasis. Gilles Deleuze's ideas about the movement-image and the time-image will provide my theoretical framework with particular reference to the notions of movement and time in Cinema 1 and Cinema 2. Deleuze defines three levels of analysis of movement and time: "(1) the sets or closed systems, which are defined by discernible objects or distinct parts; (2) the movement of translation, which is established between these objects and modifies their respective positions; (3) the duration of the whole, a spiritual reality, which constantly changes according to its own relations".^ From these levels derive the two aspects of movement: that Which happens between objects or parts; and that which expresses the duration of a whole. Deleuze explains it as follows: "we can consider the objects or parts of a set as immobile sections; but movement is established between these sections, and relates the objects or parts to the duration of a whole which changes, and thus expresses the changing of the whole in relation to the objects and it is itself a mobile section of duration". In relation to the cinematographic concepts, Deleuze maintains that what determines the whole and produces movement is montage, by means of continuities, cutting and false continuities. Through montage and the movement of the camera the shot can express both the relationship Between objects or parts and at the same time the state of the whole.
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Leonidas, Bernade. "Black Lives matter : En semiotisk analys av bilden av svarta barn i UNICEF:s och SOS Barnbyar:s reklamkampanjfilmer. En undersökning av hur UNICEF:s och SOS Barnbyar:s reklamkampanjfilm uppfattas av människor med olika etnisk bakgrund." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-22532.
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Syftet Syftet med den här uppsatsen är att undersöka bilden av svarta barn i UNICEF:s och SOS Barnbyar: s reklamkampanjfilmer och hur barnen framställs i filmerna. Jag vill också undersöka hur UNICEF:s och SOS Barnbyar: s reklamkampanjfilmer uppfattas och påverkar människor med olika etnisk bakgrund. Metod En semiotisk analys av rörliga bilder i denna uppsats gjorts för att undersöka hur UNICEF:s och SOS Barnbyar: s framställer svarta barn i sina reklamkampanjfilmer. En strukturerad gruppintervju har gjorts för att studera människors attityd. Materialet som används är, två reklamkampanjfilmer med rörliga bilder, och en intervju med en fokus grupp som består av sju personer från olika etniska bakgrunder. Resultat Resultaten visar att de bilder som används i reklamkampanjfilmerna framställer svarta barn som djur, som barbarer och som aggressiva. Resultaten från fokusgruppen visar att icke-vita människorna i gruppen är arga för att reklamen framställer svarta barn i filmerna på ett sätt som visar barnen som icke mänskliga. De vita människorna i gruppen är arga, inte bara för att organisationerna använder barnen till sin fördel, men de menar också att på grund av de här organisationerna, kommer de ständigt att bli påminda om och ses som rasister.Purpose The purpose of this study is to examine the image of black children in UNICEF’s and SOS Children’s Villages campaign films. And as well to find out how UNICEF’s and SOS Children’s Villages campaign films received by differnt people in Sweden and, in which way these advertising films could influence these people. Method A semiotics analysis of moving images have been done in this paper, in a way to examine how black children have been portrayed in those advertising films. And also a structured interview have been done in this paper to investigate the attitude that people in Sweden have towards those moving images that show on those advertising films. The Materials that used for this investigation are, two advertising films with moving images and an interview with a focus group composed of seven people from different ethnics background. Results The results have shown that those moving images using on those advertising films portrayed black children as animals, as barbarians, as aggressive. And the results of the focus group interview have shown that non-white people living in Sweden are angry because those campaigns films using black children in a way that show them as non-human. While white people living in Sweden in the group are angry because not only that these organizations using these children to their own benefits, but they also think that because of these organizations, they will be constantly reminded and seen as racists.
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Wu, Qing Xue. "Image processing for moving objects." Thesis, University of Canterbury. Electrical and Electronic Engineering, 1989. http://hdl.handle.net/10092/7695.
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This thesis reports research on aspects of medical imaging and general image processing.
As regards general image processing, techniques for estimating two-dimensional object motion (translation and rotation) from digital images are the main concern. Established techniques are reviewed, and new approaches are proposed. Several extensions are reported to the phase correlation (PC) technique introduced originally by Kuglin and Hines [1975] for estimating translation. The superior performance of PC as compared to that of conventional correlation, is shown to be related to the concept of phase dominance, a term quite recently introduced in this laboratory in the context of Fourier phase retrieval. Three modifications to PC are found to be necessary for it to be able to operate effectively on images exhibiting imperfections of the kind encountered in the real world. The ability of PC to estimate the translation of an object, when the latter also rotates, is examined and illustrated. A technique called sequential predictive phase correlation (SPPC) is introduced. It is particularly useful for estimating the translational motion of objects recorded in sequences of Images.
Emphasis is placed on the importance of descriptors which permit object rotation to be estimated, at comparatively small computational expense, with the aid of angular correlation. Two descriptors, the bispectrum (equivalent to the triple autocorrelation) and the magnitude of the conventional spectrum, are examined in detail. The chief advantage of the bispectrum is that it is completely insensitive to translational motion of the object, even though it retains all of its phase information (thereby sharpening the peaks of angular correlations) in marked contrast to the spectral magnitude. The theoretical basis for motion estimation by bispectral analysis is presented. Numerical comparisons of rotation estimation by angular correlation employing the bispectrum and the conventional spectral magnitude, in situations where the level of noise and other contamination is appreciable, show that the performance of the former is significantly superior.
The main concern on the medical imaging side is with two aspects of digital coronary angiography. One of them relates to compensating for limitations of x-ray/video imaging systems. Screen brightness persistence, or lag, of video cameras typically employed in angiographic systems causes images acquired by them to be effectively multiple exposures, so that images of moving objects become significantly blurred. A method of compensating for the lag by weighted subtraction of successive images is presented. This method can achieve resolutions comparable to those conventionally obtainable for images of static objects, but with an increase in the overall contamination level. Averaging with motion compensation, however, allows the original signal-to-noise ratio to be restored.
A second aspect of medical imaging examined and extended in this thesis is estimating the motion of coronary arteries for: 1) enhancing images for improving clinical diagnosis, and 2) assessing physiological function, especially coronary circulation. The key to this is shown to be appropriate compensation for arterial motion. New algorithms, based on the SPPC and lag removal techniques, are introduced. They are applied to the processing of clinical coronary angiogram sequences. The results presented herein show that these algorithms can estimate coronary arterial motion to useful accuracies. It appears that these algorithms could be usefully applied to the evaluation of coronary arterial narrowing due to coronary disease.
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Morano, Christopher. "A performer's perspective on three works for pianist and moving images : analysis with performance and practice strategies for Michel van der Aa's 'Transit', Nicole Lizée's 'Hitchcock Études', and 'Surface Tension' by Eve Egoyan and David Rokeby." Thesis, University of British Columbia, 2016. http://hdl.handle.net/2429/60258.
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Interest in audio-visual works of art that are performed by a live pianist while integrating projected moving visual images has waxed and waned over a period of almost 300 years. The past twenty years or so has seen a re-emergence of this genre of classical music composition which places extra demands on the pianist performing these works. This dissertation explores the history of this genre, proposes a framework for analysis of these pieces, and examines from both analytical and performance perspectives three contrasting works for this medium: Michel van der Aa’s 'Transit', Nicole Lizée’s 'Hitchcock Études', and 'Surface Tension' by Eve Egoyan and David Rokeby. This research was conducted by examining sources on the history of this genre, investigating analytical methods for discussing works of multimedia (including the texts of film sound theorists), and through live, phone, and/or e-mail interviews with the composers of the works studied, performers of these works, sound and video technicians, and a concert producer. It is the goal of this research to provide a comprehensive overview of this genre for pianists who are interested in exploring works for this medium, while highlighting the difficulties in preparing and mounting these works in performance.Arts, Faculty of
Music, School of
Graduate
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Pouzet, Mathieu. "Détection et segmentation robustes de cibles mobiles par analyse du mouvement résiduel, à l'aide d'une unique caméra, dans un contexte industriel. Une application à la vidéo-surveillance automatique par drone." Thesis, Université Paris-Saclay (ComUE), 2015. http://www.theses.fr/2015SACLV002.
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Nous proposons dans cette thèse une méthode robuste de détection d’objets mobiles depuis une caméra en mouvement montée sur un vecteur aérien de type drone ou hélicoptère. Nos contraintes industrielles sont particulièrement fortes : robustesse aux grands mouvements de la caméra, robustesse au flou de focus ou de bougé, et précision dans la détection et segmentation des objets mobiles. De même, notre solution doit être optimisée afin de ne pas être trop consommatrice en termes de puissance de calcul. Notre solution consiste en la compensation du mouvement global, résultant du mouvement de la caméra, puis en l’analyse du mouvement résiduel existant entre les images pour détecter et segmenter les cibles mobiles. Ce domaine a été particulièrement exploré dans la littérature, ce qui se traduit par une richesse des méthodes proposées fondamentalement différentes. Après en avoir étudié un certain nombre, nous nous sommes aperçus qu’elles avaient toutes un domaine d’applications restreint, malheureusement incompatible avec nos préoccupations industrielles. Pour pallier à ce problème, nous proposons une méthodologie consistant à analyser les résultats des méthodes de l’état de l’art de manière à en comprendre les avantages et inconvénients de chacune. Puis, des hybridations de ces méthodes sont alors mis en place. Ainsi, nous proposons trois étapes successives : la compensation du mouvement entre deux images successives, l’élaboration d’un arrière plan de la scène afin de pouvoir segmenter de manière correcte les objets mobiles dans l’image et le filtrage de ces détections par confrontation entre le mouvement estimé lors de la première étape et le mouvement résiduel estimé par un algorithme local. La première étape consiste en l’estimation du mouvement global entre deux images à l’aide d’une méthode hybride composée d’un algorithme de minimisation ESM et d’une méthode de mise en correspondance de points d’intérêt Harris. L’approche pyramidale proposée permet d’optimiser les temps de calcul et les estimateursrobustes (M-Estimateur pour l’ESM et RANSAC pour les points d’intérêt) permettent de répondre aux contraintes industrielles. La deuxième étape établit un arrière plan de la scène à l’aide d’une méthode couplant les résultats d’une différence d’images successives (après compensation) et d’une segmentation en régions. Cette méthode réalise une fusion entre les informations statiques et dynamiques de l’image. Cet arrière plan est ensuite comparé avec l’image courante afin de détecter les objets mobiles. Enfin, la dernière étape confronte les résultats de l’estimation de mouvement global avec le mouvement résiduel estimé par un flux optique local Lucas-Kanade afin de valider les détections obtenues lors de la seconde étape. Les expériences réalisées dans ce mémoire sur de nombreuses séquences de tests (simulées ou réelles) permettent de valider la solution retenue. Nous montrons également diverses applications possibles de notre méthode proposéeWe propose a robust method about moving target detection from a moving UAV-mounted or helicopter-mounted camera. The industrial solution has to be robust to large motion of the camera, focus and motion blur in the images, and need to be accurate in terms of the moving target detection and segmentation. It does not have to need a long computation time. The proposed solution to detect the moving targets consists in the global camera motion compensation, and the residual motion analysis, that exists between the successive images. This research domain has been widely explored in the literature, implying lots of different proposed methods. The study of these methods show us that they all have a different and limited application scope, incompatible with our industrial constraints. To deal with this problem, we propose a methodology consisting in the analysis of the state-of-the-art method results, to extract their strengths and weaknesses. Then we propose to hybrid them. Therefore, we propose three successive steps : the inter-frame motion compensation, thecreation of a background in order to correctly detect the moving targets in the image and then the filtering of these detections by a comparison between the estimated global motion of the first step and the residual motion estimated by a local algorithm. The first step consists in the estimation of the global motion between two successive images thanks to a hybrid method composed of a minimization algorithm (ESM) and a feature-based method (Harris matching). The pyramidal implementation allows to optimize the computation time and the robust estimators (M-Estimator for the ESM algorithm and RANSAC for the Harris matching) allow to deal with the industrial constraints. The second step createsa background image using a method coupling the results of an inter-frame difference (after the global motion compensation) and a region segmentation. This method merges the static and dynamic information existing in the images. This background is then compared with the current image to detect the moving targets. Finally, the last step compares the results of the global motion estimation with the residual motion estimated by a Lucas-Kanade optical flow in order to validate the obtained detections of the second step. This solution has been validated after an evaluation on a large number of simulated and real sequences of images. Additionally, we propose some possible applications of theproposed method
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Emadi, Azadeh. ""Sokout,1388" - Body in the space of border." AUT University, 2009. http://hdl.handle.net/10292/856.
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The quest of this project is to question and better understand the effects of a widening gap between Middle East and West on Middle Easterners’ experiences and feelings in exile, inbetween. This is to articulate this separation, but also to invent a visual and spatial experience that may enable us to traverse the space of the border. For those not in and of this space, as well as for those in it, a new way of looking may furnish a better understanding of both positions and facilitate communication.
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Österberg, Andreas. "Katalogisering av ljudupptagningar : en komparativ studie av Statens Ljud- och Bildarkiv och Sveriges Radios grammofonarkiv = [Cataloguing of sound recordings] : [a comparative study of The National Archive of Recorded Sound and Moving Images and The Grammophone Record Archive of the Swedish Radio] /." Borås : Högsk. i Borås, Bibliotekshögskolan/Biblioteks- och informationsvetenskap, 2004. http://www.hb.se/bhs/slutversioner/2004/04-09.pdf.
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Mason, Eric D. "Moving Thumos : emotion, image, and the enthymeme." [Tampa, Fla] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0001921.
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