Dissertations / Theses on the topic 'Periscopes'

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This research develops a detection rate model to analyze the effectiveness of the RDR 1500B search radar installed in the CASA 212 S43 aircraft belonging to Venezuelan Naval Aviation. The model is based on a search and detection mission to find a diesel submarine executing an incursion inside the Venezuelan Caribbean Sea area, assumed to be intermittently operating with periscopes or masts exposed above the sea surface. The analysis obtains cumulative probability of detection vs. time based on the radar manufacturer's performance data, user inputs for aircraft search area size, search speed, and search altitude, and submarine periscope or mast exposure profile. The model can use given periscope radar cross section data, or roughly calculate radar cross section given assumptions about exposed periscope height above the sea-surface and sea-state conditions. Submarine evasion due to radar counterdetection is also modeled.
Lieutenant Commander, Venezuelan Navy

Thesis (M.S. in Mechanical Engineering and Mechanical Engineer) Naval Postgraduate School, September 1996.
Thesis advisor(s): F.A. Papoulias. "September 1996." Includes bibliographical references (p. 113). Also available online.

Thesis (M.S. in Operations Research) Naval Postgraduate School, December 1997.
"December 1997." Thesis advisor(s): Alan R. Washburn. Includes bibliographical references (p. 51). Also available online.

This dissertation presents, for the first time, a practical design for a periscopic stereo head and investigates the computer vision tools necessary for 3D reconstruction from periscopic image data. It identifies two possibilities for processing periscope image data. "Corrected", where a two dimensional rotation is applied to the image plane prior to standard stereo processing, or, "uncorrected" which ignores the "tumbling" effect inherent in periscopic image data until the final stage of reconstruction, where the "late" correction circumvents the problem, apparent in many existing stereo algorithms, of resolving disparity measurement in imaged scene structure which is parallel with corresponding epipolar lines. Many of the existing stereo processing tools used in the course of this research require little modification, but have all revealed issues requiring resolution not immediately apparent in previous treatments. This investigation stops short of the actual construction of 3D models but presents a method of generating the sets of depth data required for large-scale scene reconstruction. Feature extraction, image data correspondence, camera calibration and the generation of depth information from periscopic image data are all covered in the context of this dissertation. In particular a new method of combining existing camera calibration techniques, termed "calibration in a box", is presented together with conclusions regarding the tools and techniques employed. While periscopic stereo is still in development, it is only imaging system, reported to date, which is likely to be capable of large-scale, autonomous, 3D scene reconstruction, with particular application to remote operation in hazardous environments.

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This thesis addresses the instructional gap existent between the theoretical instruction that is typically delivered in the classroom and the hands-on training in periscope simulators. In those navies that adopt the eyes-only or perisher technique for training of periscope depth safety rules, the submarine officers need to gain knowledge and master a series of skills and abilities prior to the training sessions in periscope simulators. This work suggests and explores the use of web-based simulation as a tool to diminish this gap, applying the concept of part-task training to enable the delivery of better-prepared officers to the simulator phase of training and better leverage the time spent at a full-scale simulator. To test this concept, a prototype web-based periscope simulator was developed, and a usability study was conducted among the body of students of the Naval Postgraduate School. The findings revealed that most of the participants were receptive to web-based simulation for training, and that it is a viable and promising field, but some technical caveats were identified. Although this thesis focused on the periscope simulation, the concept can be extended and applied for other domains in which a similar gap can be found between theory and hands-on training.

Live nu! is an essay in media and communication studies covering 15hp. The authors have, by interviewing five Swedish companies, looked at how Periscope as a livestreaming medium is viewed and used for marketing purposes, as well as how it has changed the media climate of today. This by analysing the interwievs in a theoretical context based on theories conserning user generated content and the concept of Webb 2.0 as well as theories on marketing and the creation of value for costumers. Henry Jenkins theory about convergence culture was also applied. Discourse analysis is the method used in the qualitative work that make the foundation of this essay. The material was analysed and categorised using tools such as nodal points, chains of equivalence and articulations. Theories on marketing, user generated content and Webb 2.0 were then used to make a deeper analysis of the content. The results of the study shows Periscope viewed by Swedish companies as a tool to create content on costumers terms. A type of content built on trustworthiness, transparency and, if used in the right way, interactivity. Periscope is seen as a way to achieve a more personal dialog with the target group and to strengthen the brand whilst giving costumers value outside of consumable products.

The tool, the practice and the spatial experience.     Painting to see the room Drill a small, almost invisible hole in the center of the canvas and see the room through it.   Grapefruit: A Book of Instructions and Drawings by Yoko Ono      I det här projektet har jag formgett och byggt en uppsättning analoga verktyg som kan användas för att utforska rum.  Jag är har tittat på hur verktygen får oss att se nya kvalitéer i arkitekturen och ger oss förståelse för vår egen relation till rummet.     I verktygen har jag använt ramar, speglar och rör som på olika sätt beskär, förskjuter, skapar en distans eller access i rummet .   Upptäckterna delar jag sedan med mig av genom illustrationer, som hämtar inspiration både från serier och arkitektoniska representationer.   Med illustrationerna vill jag skapa en diskussion och en medvetenhet om hur vi upplever rum och arkitekturen.
Painting to see the room Drill a small, almost invisible hole in the center of the canvas and see the room through it.   Grapefruit: A Book of Instructions and Drawings by Yoko Ono     In this project I have designed and built a set of analog tools that can be used to explore a space.  I have been looking into how the objects make us see new qualities in the architecture and give us understandings about our relationship to the space.    The elements  I have worked with are frames, mirrors and tubes that in different ways cut, shift, create distances or access in the space.     I am sharing my findings through illustrations, inspired by both comics and architecture representation. With the drawings I want to stimulate the debate and create an awareness on how we experience spaces and architecture.

La emisión de vídeos en directo a través de las redes sociales, entendida como Social Media Live Streaming (SMLS), permite a los medios digitales proponer diversas formas de interacción y de engagement a sus audiencias tales como resultados de rendimiento instantáneos, solicitar aportaciones económicas y otorgar al seguidor la función de copresentador. El SMLS puede ser una herramienta de sostenibilidad para una industria periodística en crisis ante la disminución y excesiva dependencia de los ingresos publicitarios, viéndose obligada a buscar nuevas y diversas oportunidades económicas. La presente investigación despliega una serie de instrumentos de toma de datos que caracterizan al SMLS como una nueva tendencia en comunicación social mediante el uso de redes sociales o funcionalidades en live streaming como Facebook Live, Periscope/Twitter y YouTube Live. En síntesis, es una herramienta que puede ayudar a los medios de comunicación a consolidar su posicionamiento y aumentar la visibilidad de sus contenidos.
The broadcast of live videos through social networks, understood as Social Media Live Streaming (SMLS), allows digital news media to propose various forms of interaction and engagement to their audiences such as instant performance results, request financial contributions and grant the follower the role of co-presenter. The SMLS can be a tool of sustainability for a news industry in crisis due to the decrease and excessive dependence on advertising revenues, being forced to look for new and diverse economic opportunities. The present investigation deploys a series of data collection instruments that characterize SMLS as a new trend in social communication through the use of social networks or live streaming features such as Facebook Live, Periscope / Twitter and YouTube Live. In short, it is a tool that can help the news outlet consolidate its positioning and increase the visibility of its contents.

The aim of this study is to highlight the significance of the prohibition of making any image of God as found in the second commandment of the Decalogue in Exodus 20:4-6 with its inner-biblical interpretations in Exodus 32:1-6 and in Isaiah 40:18-20. This study has discussed the close connection between the prohibition of making any image of God in the second commandment of the Decalogue, the idea of Yahweh’s incomparability in the introduction and the command to worship God only in the first commandment. God’s incomparability prevents Israel from worshipping any other god by making images of them or making any image of God. The ‘construct of the introduction and the first two commandments of the Decalogue’ serves as a linchpin concept in our understanding of the prohibition of making any image of God. The aniconism matriculated in the second commandment of the Decalogue in Exodus 20:4-6 in relation with the introduction and the first commandment in Exodus 20:2-3 forms the basis for the prohibition of making any image of God from the Sinai event onwards. This construct in Exodus 20:2-6 is shared with Exodus 32:1-6 and Isaiah 40:18-20. There an inner-biblical interpretation of the aniconism of the second commandment of the Decalogue in Exodus 20:4-6 in reaction with the introduction and the first commandment in Exodus 20:2-3 explicates and applies the meaning of the command in a new situation. Chapter 1 deals with the statement of the problem and the hypothesis of this study, its methodology, theological rationale, and the aim of this study. Chapter 2 discusses that the prohibition of making any image of God in the second commandment of the Decalogue in Exodus 20:4-6 is important, not only as a phenomenon in the Pentateuch, but also as the provenance of aniconism in the rest of Old Testament. Exodus 20:4-6 can be considered as the explicit traceable provenance of the prohibition of making any image of God in the Pentateuch and the rest of Old Testament. The ‘introduction and first two commandments of the Decaologue construct’ provides a framework within which the meaning of the prohibition of making any image of God in the second commandment can be understood in the context of the introduction of the Decalogue in Exodus and the first commandment of the Decalogue. The second commandment of the Decalogue is sometimes backed up by only the first commandment of the Decalogue and sometimes by both of them. The origin of the second commandment of the Decalogue in Exodus 20:4-6 as the prohibition of making any image of God whether it comes from the early or later stages of Israel’s history is discussed with the discussion on the arrangement of the Decalogue in the Sinai pericope (Ex 19:1-24:11) and the relation between the two Decalogues in Exodus 20:2-17 and Deuteronomy 5:6-21. The sharp differences of opinions on the provenance of the prohibition in the second commandment of the Decalogue in Exodus 20:4-6 is dealt with. This study supposes that the dating of the prohibition on making any image of God of the Decalogue should be attributed to Moses’ time as stated in the text of the Pentateuch. Chapter 3 deals with one key Pentateuchal text for the prohibition of making any image of God, Exodus 32:1-6, as an example that the second commandment represents the prohibition on making any image of God in relation with the introduction and the first commandment of the Decalogue proclaiming God’s incomparability, which is called ‘the introduction and the first two commandments of the Decalogue construct’ in this study. Exodus 32:1-6 is regarded to be an interpretation of the prohibition of making any image of God in the second commandment of the Decalogue in Exodus 20:4-6. Chapter 4 deals with Isaiah 40:18-20, which forbids idol-fabrication and the worship of an image of God in its relation with the proclamation of God’s incomparability, as well as with the worship of other gods and their images. This chapter deals with the similarity of the negative attitude toward worship of God through images found in the legal and prophetical parts of the Hebrew Bible. Theologically speaking, Isaiah’s message is in line with the Pentateuch, and flows from the office of the prophet as a plenipotentiary of God to condemn the transgression of the covenantal law. This similarity of the idea between them is seen in respect of its linguistic aspects. Considering the rules of the nature of analogies between texts, there can be seen a correlation between the introduction and first two commandments of the Decalogue in Exodus 20:2-6 and the passage dealing with the incomparability of God and the idol-fabrication in Isaiah 40:18-20. The final chapter summarizes the flow of the argument in this thesis dealing with three phenomena of aniconism in the Old Testament and suggests the conclusion of this thesis based on the result of the exegetical and thematic study on the three passages.
Thesis (PhD)--University of Pretoria, 2011.
Old Testament Studies
unrestricted

For operational purposes, submarines are required to pierce the free surface with masts, such as periscopes and snorkels. These masts generate a large plume structure which can significantly increase the chance of detection. This thesis develops a numerical technique to accurately model the plume structure generated by a mast piercing the free surface, examining four critical aspects: bow wave height, plume height, plume length, and drag coefficient. The Computational Fluid Dynamics (CFD) model was validated through an experimental programme in a towing tank and against published data. The numerical validation showed that CFD-RANS modelling failed to predict the plume height and plume length while the CFD-LES accurately modelled the plume structure under Froude numbers of 3.0, whilst predicting the overall shape with a small under prediction at Froude numbers greater than 3.0. The results show aspects of the flow regime within the plume structure and experimental configurations required to accurately replicate real world scenarios. The most critical flow characteristic found for the plume structure was the combination of two flow regimes within the plume structure. The forward section of the plume is generated by the bow wave, whilst the aft section is caused by the submerged section of the mast. When replicating the mast using a surface piercing cylinder with no end body, it was found that an immersion to depth ratio greater than eight is required to avoid end effects. Additionally, the use of an end body can effectively reduce the impact of the end effect on the plume structure. Utilising the validated numerical model, several mast configurations were tested in order to reduce the plume signature. Cylindrical double mast configurations and streamlined NACA0012 mast configurations were tested showing potential reductions of the overall plume size. This data can be used to improve the submarine mast configuration, thus reducing the risk of detection due to the generation of a large plume structure.

The Periscope and the Labyrinth is an investigation into cultural identity, consciousness and landscape rooted in the body’s experience of the city. The modern phenomenon of flânerie is used as a means of examining vari- ous sites of particular interest to queer mythology within New York and Rome via the device of personal ‘derives’ or drifts inspired by a legacy of city writing, whereby the particular relationship between identity, place and space becomes clear. The flâneur has been essential to previous writings on the topic of ‘queer space’ in that he is one who ‘relies on the ambiguities of the modern city, and the uncertainties that linger in the fleeting experi- ence of a backward glance.’ It is these very ambiguities that associate the flâneur as the quintessential ‘cruiser.’ Yet the potential of the flâneur lies in his ‘alchemical’ abilities. A contemporary interpretation of alchemy is used through out the thesis as both a psychological method for understand- ing the ‘union of opposites’, as well as a reading of the parallels between individual and collective identity as they relate to particular sites. These archetypal opposites are typified by the Greek gods Apollo and Dionysus; the duality of their characteristics exemplified by the metaphor of the title in which the conscience of the ‘Apollonian eye’ of the flâneur within the labyrinth of the Dionysian underworld’ describing the alchemical teachings which underpin this work.

碩士
國立高雄應用科技大學
機械與精密工程研究所
102
Nowadays, having a mobile phone is a common thing, and most of phones can be a camera with digital zoom. In order to improve the photo texture, many manufacturers launch an external zoom lens, but it is not conducive to carry and store. Hence, in June 2013, Samsung promoted S4 Zoom which is external optical zoom mobile phone to deal with the inconvenience, but it is still thicker than the general mobile phones. In conclusion, I hope to design a portable mobile phone camera with excellent image. Refer to patent US7,113,345 B2 structure, the goal is to reach 8 million pixel, triple optical zoom 4.95mm-15mm and aperture F2.0 (wide angle)-F3.5 (telephoto). Moreover, optimize with CODE V software to complete three kinds of designs, Desgin I and Design II has reduced 5% distortion value than original patent, and Desgin I reduce four aspheric,Desgin II and DesingIII reduce three aspheric.

Non-line-of-sight (NLOS) imaging is the inference of the properties of objects or scenes outside of the direct line-of-sight of the observer. Such inferences can range from a 2D photograph-like image of a hidden area, to determining the position, motion or number of hidden objects, to 3D reconstructions of a hidden volume. NLOS imaging has many enticing potential applications, such as leveraging the existing hardware in many automobiles to identify hidden pedestrians, vehicles or other hazards and hence plan safer trajectories. Other potential application areas include improving navigation for robots or drones by anticipating occluded hazards, peering past obstructions in medical settings, or in surveying unreachable areas in search-and-rescue operations. Most modern NLOS imaging methods fall into one of two categories: active imaging methods that have some control of the illumination of the hidden area, and passive methods that simply measure light that already exists. This thesis introduces two NLOS imaging methods, one of each category, along with modeling and data processing techniques that are more broadly applicable. The methods are linked by their use of objects (‘occluders’) that reside somewhere between the observer and the hidden scene and block some possible light paths. Computational periscopy, a passive method, can recover the unknown position of an occluding object in the hidden area and then recover an image of the hidden scene behind it. It does so using only a single photograph of a blank relay wall taken by an ordinary digital camera. We develop also a framework using an optimized preconditioning matrix to improve the speed at which these reconstructions can be made and greatly improve the robustness to ambient light. Lastly, we develop tools necessary to demonstrate recovery of scenes at multiple unknown depths – paving the way towards three-dimensional reconstructions. Edge-resolved transient imaging, an active method, enables the formation of 2.5D representations – a plan view plus heights – of large-scale scenes. A pulsed laser illuminates spots along a small semi-circle on the floor, centered on the edge of a vertical wall such as in a doorway. The wall edge occludes some light paths, only allowing the laser light reflecting off of the floor to illuminate certain portions of the hidden area beyond the wall, depending on where along the semi-circle it is illuminating. The time at which photons return following a laser pulse is recorded. The occluding wall edge provides angular resolution, and time-resolved sensing provides radial resolution. This novel acquisition strategy, along with a scene response model and reconstruction algorithm, allow for 180° field of view reconstructions of large-scale scenes unlike other active imaging methods. Lastly, we introduce a sparsity penalty named mutually exclusive group sparsity (MEGS), that can be used as a constraint or regularization in optimization problems to promote solutions in which certain components are mutually exclusive. We explore how this penalty relates to other similar penalties, develop fast algorithms to solve MEGS-regularized problems, and demonstrate how enforcing mutual exclusivity structure can provide great utility in NLOS imaging problems.

How can information visualization be interpreted from the perspective of design activism? This question led to an exploratory investigation through which parallels between the projectual field of information visualization and the multidisciplinary field of design activism are identified and explained. Following an interpretive approach and using the case study method, three projects were analyzed, from which we tried to identify characteristic components of design activism, common to the practice of information visualization. Direct observation of the projects, analysis of related documentation and a questionnaire made to the authors allowed us to analyze and characterize the motivation, intention and concretization dimensions underlying these three works. The verification of ethical, political and counter-narrative components associated, respectively, with motivation, intention and concretization dimensions, show the parallel between the three projects studied and the practice of design activism. Study results show that information visualization can be described as a design activism exercise when three conditions are met: the project is motivated by the ethical positioning of the designer in relation to the focused subject; The designer assumes the intention to intervene politically through the realization of visualization; The project materializes as a counter-narrative information visualization. The interpretation of information visualization from the perspective of design activism suggests the proposal of a theoretical model that identifies an emergent design field, in which the visual representation of information is determined by the ethical ideals and political values of the designer, and opens space to new possibilities of analysis and critical reflection about sinformation visualization
Como é que a visualização de informação pode ser interpretada na perspectiva do design activista? Esta questão suscitou uma investigação exploratória através da qual se identificam e explicam os paralelismos entre o domínio projectual da visualização de informação e o campo multidisciplinar do design activista. Seguindo uma abordagem interpretativa e recorrendo ao método do estudo de caso, foram analisados três projectos a partir dos quais se procuram identificar componentes características do design activista comuns à prática da visualização de informação. A observação directa dos projectos, a análise de documentação conexa e um questionário realizado aos autores permitiram analisar e caracterizar as dimensões motivação, intenção econcretização subjacentes a estes três trabalhos. A verificação da presença das componentes ética, política e contra-narrativa associadas, respectivamente, às dimensões motivação, intenção e concretização evidenciam o paralelismo entre os três projectos estudados e a prática do design activista. Os resultados do estudo demonstram que uma visualização de informação pode ser qualificada como um exercício de design activista quando se conjugam três condições: o projecto é motivado pelo posicionamento ético do designer face ao assunto focado; o designer assume a intenção de intervir politicamente através da realização da visualização; o projecto concretiza-se enquanto uma visualização de informação de teor contra-narrativo. A interpretação da visualização de informação a partir do design activista sugere a proposta de um modelo teórico que identifica um domínio projectual emergente, no qual a representação visual de informação é determinada pelos valores éticos e ideais políticos do designer, e abre espaço a novas possibilidades de análise e reflexão crítica sobre a visualização de informação