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Journal articles on the topic 'Visual continuity'

Author: Grafiati

Published: 3 June 2025

Last updated: 31 July 2025

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1

Boehm, Wolfgang. "Visual continuity." Computer-Aided Design 20, no. 6 (1988): 307–11. http://dx.doi.org/10.1016/0010-4485(88)90111-x.

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2

Biggs, Michael A. R. "Continuity and Discontinuity in Visual Experience." Crítica (México D. F. En línea) 24, no. 70 (1992): 3–15. http://dx.doi.org/10.22201/iifs.18704905e.1992.818.

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Este artículo estudia el papel de la experiencia visual en la obra de Wittgenstein. La tesis específica consiste en que la experiencia visual no da únicamente ejemplos ilustrativos de lo que podría ser una explicación del significado, sino también una metáfora repetida de todo el proceso del significado y del entendimiento. Wittgenstein utiliza un gran número de ejemplos visuales en sus textos. La diversidad de ellos puede explicarse por la gran variaci6n de opciones que tiene para describir la relación entre una palabra y su significado. La variedad de ejemplos visuales que resulta se podría

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3

Yantis, Steven. "Perceived Continuity of Occluded Visual Objects." Psychological Science 6, no. 3 (1995): 182–86. http://dx.doi.org/10.1111/j.1467-9280.1995.tb00329.x.

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The human visual system does not rigidly preserve the properties of the retinal image as neural signals are transmitted to higher areas of the brain Instead, it generates a representation that captures stable surface properties despite a retinal image that is often fragmented in space and time because of occlusion caused by object and observer motion The recovery of this coherent representation depends at least in part on input from an abstract representation of three-dimensional (3-D) surface layout In the two experiments reported, a stereoscopic apparent motion display was used to investigat

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4

Pezzini, Barbara. "Visual Resourcesin 2016: Continuity and Change." Visual Resources 32, no. 1-2 (2016): 1–3. http://dx.doi.org/10.1080/01973762.2016.1130914.

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5

Dubois, J., C. Koch, and R. VanRullen. "Visual trails: When perceptual continuity breaks down." Journal of Vision 11, no. 11 (2011): 771. http://dx.doi.org/10.1167/11.11.771.

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6

Zhang, Zhilin, and Tony Ro. "Unconscious Perception of Continuity During Visual Suppression." Journal of Vision 24, no. 10 (2024): 353. http://dx.doi.org/10.1167/jov.24.10.353.

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7

O'Herron, P., and R. von der Heydt. "Border ownership signals reflect visual object continuity." Journal of Vision 10, no. 7 (2010): 1178. http://dx.doi.org/10.1167/10.7.1178.

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8

Al-Hinkawi, Wahda Shuker, and Nada Abdul Mueen Hassan. "Visual Continuity of Traditional Vocabulary in contemporary urban Development Projects." Journal of Engineering 20, no. 2 (2023): 1–23. http://dx.doi.org/10.31026/j.eng.2014.02.12.

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The sustainability of the individual and society get great interest in contemporary studies,Considering the rebuilding of the society cultural values as the most important goals, whichprompted many researchers to explore ways and social elements of sustainability and the mostimportant urban and architectural vocabulary achieving it, thus, the search will be directedtowards the human being within the social dimensions of sustainability, his belonging andawareness of identity through the employment of local heritage in the contemporary product.The literatures confirmed the continuity of heritage

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9

Wurtz, Robert H. "Corollary Discharge Contributions to Perceptual Continuity Across Saccades." Annual Review of Vision Science 4, no. 1 (2018): 215–37. http://dx.doi.org/10.1146/annurev-vision-102016-061207.

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Our vision depends upon shifting our high-resolution fovea to objects of interest in the visual field. Each saccade displaces the image on the retina, which should produce a chaotic scene with jerks occurring several times per second. It does not. This review examines how an internal signal in the primate brain (a corollary discharge) contributes to visual continuity across saccades. The article begins with a review of evidence for a corollary discharge in the monkey and evidence from inactivation experiments that it contributes to perception. The next section examines a specific neuronal mech

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10

Permadi, Johanes Baptista. "Menjaga Kontinuitas pada Saat Pengambilan Gambar dalam Media Film." Humaniora 1, no. 2 (2010): 347. http://dx.doi.org/10.21512/humaniora.v1i2.2876.

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Film media is a new media to communicate. However, the communication way in this movie is different from other media communication visual. Continuity is a crucial element in communicating through visual media, and sometimes continuity in a film is parted in a scene. The cause of losing continuity needs to be observed more, so there will be a method to anticipate losing continuity of a film in pre-production stage or in preparation stage before actual shooting. The data gained from students’ assignments in ‘Cinematography for Animation’ subject, which close to problem formulation. After the dat

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11

Ikeda, Mitsuo, Haelim Yoon, and Hiroyuki Shinoda. "Continuity between Two Recognized Visual Space of Illumination." JOURNAL OF THE ILLUMINATING ENGINEERING INSTITUTE OF JAPAN 79, no. 11 (1995): 710–13. http://dx.doi.org/10.2150/jieij1980.79.11_710.

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12

Ikeda, Mitsuo, Hiroyuki Shinoda, and Haelim Yoon. "Continuity between two recognized visual space of illumination." JOURNAL OF THE ILLUMINATING ENGINEERING INSTITUTE OF JAPAN 79, Appendix (1995): 165. http://dx.doi.org/10.2150/jieij1980.79.appendix_165.

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13

Bai, Dawei, Andreas Falck, and Brent Strickland. "The adult visual system resists learning continuity violations." Journal of Vision 21, no. 9 (2021): 2590. http://dx.doi.org/10.1167/jov.21.9.2590.

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14

O'Herron, P., and R. von der Heydt. "Representation of object continuity in the visual cortex." Journal of Vision 11, no. 2 (2011): 12. http://dx.doi.org/10.1167/11.2.12.

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15

Rao, Hrishikesh M., Zachary M. Abzug, and Marc A. Sommer. "Visual continuity across saccades is influenced by expectations." Journal of Vision 16, no. 5 (2016): 7. http://dx.doi.org/10.1167/16.5.7.

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16

Yi, Do-Joon, Nicholas B. Turk-Browne, Jonathan I. Flombaum, Min-Shik Kim, Brian J. Scholl, and Marvin M. Chun. "Spatiotemporal object continuity in human ventral visual cortex." Proceedings of the National Academy of Sciences 105, no. 26 (2008): 8840–45. http://dx.doi.org/10.1073/pnas.0802525105.

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17

Bordwell, David. "Intensified Continuity Visual Style in Contemporary American Film." Film Quarterly 55, no. 3 (2002): 16–28. http://dx.doi.org/10.1525/fq.2002.55.3.16.

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Do today's movies, filled with dazzling spectacle and often less-than-dazzling plotting and characterization,constitute a break with Hollywood's past? This essay argues that recent films rely upon many principles of traditional"continuity filming," but that there are nonetheless some important changes. In particular, certain techniques,such as fast cutting and free-ranging camera movement, have become more forceful and flamboyant. These techniques have blended into an approach to visual storytelling which we can call "intensified continuity." By analyzing films and reflecting upon comments gle

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18

Sotska, H., and M. Pichkur. "TYPOLOGY OF CONTINUITY OF PARADIGMS OF VISUAL TRAINING OF SPECIALISTS IN ART SPECIALTIES." Aesthetics and Ethics of Pedagogical Action, no. 26 (December 25, 2022): 147–55. http://dx.doi.org/10.33989/2226-4051.2022.26.273164.

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The review article provides a theoretical analysis of the essence of concepts related to the issue of continuity of paradigms of visual training of future specialists in art specialties. The article describes the terminological thesaurus in the context of the methodology of professional art education and reveals the essence of traditional, value-normative, and scientifically managed types of continuity of paradigms of visual training of specialists in art specialties. Paradigms of the artistic and educational process are characterized by I. Levin who highlighted canonical, academic, ethnocultu

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19

IDROVO, RENÉ. "The Immersive Continuity of Roma." Music, Sound, and the Moving Image 15, no. 2 (2021): 167–93. http://dx.doi.org/10.3828/msmi.2021.10.

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In Gravity (2013), Alfonso Cuarón introduced a fully three-dimensional sound design approach that was originally termed by Idrovo and Pauletto (2019) as ‘immersive point-of-audition’. More recently, in Netflix’s Roma (2018), Cuarón not only perfected such treatment of sound, but consolidated an audio-visual style that stands out for its capacity to enhance our sensation of ‘presence’ in the narrative world, a style that is referred here to as immersive continuity. Grounded on the spatiotemporal continuity of the long take, Cuarón’s immersive continuity allows sound objects to flow all around t

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20

Yang, Hong, Yanming Zhao, Guoan Su, et al. "Slow Feature Extraction Algorithm Based on Visual Selection Consistency Continuity and Its Application." Traitement du Signal 38, no. 6 (2021): 1599–611. http://dx.doi.org/10.18280/ts.380604.

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The conventional slow feature analysis (SFA) algorithm has no support of computational theory of vision for primates, nor does it have the ability to learn the global features with visual selection consistency continuity. And what is more, the algorithm is highly complex. Based on this, Slow Feature Extraction Algorithm Based on Visual selection consistency continuity and Its Application was proposed. Inspired by the visual selection consistency continuity theory for primates, this paper replaced the principal component analysis (PCA) method of the conventional SFA algorithm with the myTICA me

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21

Shelden, Dennis R., and Andrew J. Witt. "Continuity and Rupture." Architectural Design 81, no. 4 (2011): 36–43. http://dx.doi.org/10.1002/ad.1266.

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22

Watanabe, Katsumi. "Maintaining Visual Attention over Time: Effects of Object Continuity." i-Perception 2, no. 4 (2011): 207. http://dx.doi.org/10.1068/ic207.

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23

Duyck, Marianne, Thérèse Collins, and Mark Wexler. "Visual continuity during blinks and alterations in time perception." Journal of Experimental Psychology: Human Perception and Performance 47, no. 1 (2021): 1–12. http://dx.doi.org/10.1037/xhp0000864.

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24

Rose, S. "Continuity in visual recognition memory: infancy to 11 years." Intelligence 24, no. 2 (1997): 381–92. http://dx.doi.org/10.1016/s0160-2896(97)90067-2.

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25

Varlet, Manuel, Ludovic Marin, Johann Issartel, R. C. Schmidt, and Benoît G. Bardy. "Continuity of Visual and Auditory Rhythms Influences Sensorimotor Coordination." PLoS ONE 7, no. 9 (2012): e44082. http://dx.doi.org/10.1371/journal.pone.0044082.

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26

Gamulescu, Maria-Andreea, Georgios Panagakis, Carmen Theek, and Horst Helbig. "Predictive Factors in OCT Analysis for Visual Outcome in Exudative AMD." Journal of Ophthalmology 2012 (2012): 1–6. http://dx.doi.org/10.1155/2012/851648.

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Background. Reliable predictive factors for therapy outcome may enable treating physicians to counsel their patients more efficiently concerning probability of improvement or time point of discontinuation of a certain therapy.Methods. This is a retrospective analysis of 87 patients with exudative age-related macular degeneration who received three monthly intravitreal ranibizumab injections. Visual acuity before initiation of intravitreal therapy and 4–6 weeks after last intravitreal injection was compared and related to the preoperative visualisation of continuity of the outer retinal layers

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27

Lamarre, Thomas. "Transmedia-genre: non-continuity, discontinuity, and continuity in the global 80s." New Review of Film and Television Studies 20, no. 1 (2022): 119–31. http://dx.doi.org/10.1080/17400309.2021.1999737.

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28

CLARK, J. "Continuity and Change." Iranica Antiqua 42 (January 1, 2007): 419–50. http://dx.doi.org/10.2143/ia.42.0.2017883.

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29

Consiglieri, Luisa, and Victor Consiglieri. "Continuity versus Discretization." Nexus Network Journal 11, no. 2 (2009): 151–62. http://dx.doi.org/10.1007/s00004-008-0086-x.

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30

Fujita, Hideyuki, Shota Sagara, Tadashi Ohmori, and Takahiko Shintani. "Route Network Construction with Location-Direction-Enabled Photographs." Proceedings of the ICA 1 (May 16, 2018): 1–3. http://dx.doi.org/10.5194/ica-proc-1-40-2018.

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We propose a method for constructing a geometric graph for generating routes that summarize a geographical area and also have visual continuity by using a set of location-direction-enabled photographs. A location- direction-enabled photograph is a photograph that has information about the location (position of the camera at the time of shooting) and the direction (direction of the camera at the time of shooting). Each nodes of the graph corresponds to a location-direction-enabled photograph. The location of each node is the location of the corresponding photograph, and a route on the graph cor

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31

Asghar, Muhammad, and Ghulam Mustafa. "A Family of Binary Approximating Subdivision Schemes based on Binomial Distribution." Mehran University Research Journal of Engineering and Technology 38, no. 4 (2019): 1087–100. http://dx.doi.org/10.22581/muet1982.1904.20.

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A simplest way is introduced to generate a generalized algorithm of univariate and bivariate subdivision schemes. This generalized algorithm is based on the symbol of uniform B-splines subdivision schemes and probability generating function of Binomial distribution. We present a family of binary approximating subdivision schemes which has maximum continuity and less support size. Our proposed family members P4, P5, P6, and P7, have C7, C9, C11 and C13 continuities respectively. In fact, we use Binomial probability distribution to increase the continuity of uniform B-splines subdivision schemes

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32

Stuth, Tricia. "Continuity, Criticality, and Change." Journal of Architectural Education 63, no. 2 (2010): 112–27. http://dx.doi.org/10.1111/j.1531-314x.2010.01072.x.

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33

Lester, Peter. "“Keeping Continuity: Institutional Memory and the FSAC/ACÉC Newsletter”." Canadian Journal of Film Studies 32, no. 1 (2023): 151–59. http://dx.doi.org/10.3138/cjfs-2022-0051.

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Résumé : Cette contribution à Ciné-Forum considère l’histoire et le legs de Continuity, le bulletin de la Film Studies Association of Canada/l’Association canadienne d’études cinématographiques (FSAC/ACÉC) publié trimestriellement de 1976 à 2008. Le bulletin a joué un rôle crucial dans les communications internes de l’Association et aidé à préserver la mémoire institutionnelle. Bien que de nombreuses composantes utiles du bulletin, en place depuis longtemps, se sont perdues quand la FSAC/ACÉC a cessé sa publication et déplacé la plus grande part de ses activités en ligne, l’Association, en l’a

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34

Zondi, Siphamandla, Zethu Cakata, and Nokuthula Hlabangane. "Continuity and Consolidation." International Journal of African Renaissance Studies - Multi-, Inter- and Transdisciplinarity 16, no. 1 (2021): 1–3. http://dx.doi.org/10.1080/18186874.2021.1973258.

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35

Rahim, Ali, and Hina Jamelle. "Surface Continuity: An Elegant Integration." Architectural Design 77, no. 1 (2007): 38–43. http://dx.doi.org/10.1002/ad.395.

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36

Pérez-Castro, Marta. "Colonialismo Cultural: Arte y Escritura en Al Ándalus a partir de 1492." Anduli, no. 20 (2021): 235–51. http://dx.doi.org/10.12795/anduli.2021.i20.13.

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Relationships among visual signs, society and memory reveal the dominant cultural order in a given context as well as the causes that maintain it (influence and imposition) and the effects on the population where it occurs (alienation and cultural resilience). Therefore, it is possible to identify deeper social processes with a purely visual and symbolic reading. Visual signs (two-dimensional), in addition to configuring the way space is understood (three-dimensional), reflect social and political dynamics (the time factor). To have a more complete vision of the moment and context, it is neces

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37

Rolfs, Martin, and Sven Ohl. "Visual Suppression in the Superior Colliculus Around the Time of Microsaccades." Journal of Neurophysiology 105, no. 1 (2011): 1–3. http://dx.doi.org/10.1152/jn.00862.2010.

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Miniature eye movements jitter the retinal image unceasingly, raising the question of how perceptual continuity is achieved during visual fixation. Recent work discovered suppression of visual bursts in the superior colliculus around the time of microsaccades, tiny jerks of the eyes that support visual perception while gaze is fixed. This finding suggests that corollary discharge, supporting visual stability when rapid eye movements drastically shift the retinal image, may also exist for the smallest saccades.

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38

EKİNCİ, Barış Tolga. "FILM EDITING AND VISUAL CONTINUITY IN THE CONTEXT OF BIRDMAN (2014)." INTERNATIONAL PEER-REVIEWED JOURNAL OF COMMUNICATION AND HUMANITIES RESEARCHES, no. 7 (June 30, 2015): 58. http://dx.doi.org/10.17361/uhive.2015711138.

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39

Perry, Gavin, Edmund T. Rolls, and Simon M. Stringer. "Spatial vs temporal continuity in view invariant visual object recognition learning." Vision Research 46, no. 23 (2006): 3994–4006. http://dx.doi.org/10.1016/j.visres.2006.07.025.

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40

Rose, Susan A., Judith F. Feldman, Lorelle R. Futterweit, and Jeffery J. Jankowski. "Continuity in tactual–visual cross-modal transfer: Infancy to 11 years." Developmental Psychology 34, no. 3 (1998): 435–40. http://dx.doi.org/10.1037/0012-1649.34.3.435.

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41

Wibisono, Sony, and Rifki Esa Syahnarki. "CONTINUITY SHOT SEBAGAI UPAYA PENYAJIAN VISUAL REALISTIS PADA DRAMA TELEVISI ALUN." Sense: Journal of Film and Television Studies 6, no. 1 (2023): 49–58. http://dx.doi.org/10.24821/sense.v6i1.9359.

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42

Eckhorn, Reinhard, Alexander Gail, Andreas Bruns, Andreas Gabriel, Basim Al-Shaikhli, and Mirko Saam. "Neural mechanisms of visual associative processing." Acta Neurobiologiae Experimentalis 64, no. 2 (2004): 239–52. http://dx.doi.org/10.55782/ane-2004-1509.

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This is a review of our work on multiple microelectrode recordings from the visual cortex of monkeys and subdural recordings from humans - related to the potential underlying neural mechanisms. The former hypothesis of object representation by synchronization in visual cortex (or more generally: of flexible associative processing) has been supported by our recent experiments in monkeys. They demonstrated local synchrony among rhythmic or stochastic γ-activities (30-90 Hz) and perceptual modulation, according to the rules of figure-ground segregation. However, γ-synchrony in primary visual cort

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43

Douglas, Anne, and Kathleen Coessens. "Movement and Moment: In-between Discreteness and Continuity." Somatechnics 4, no. 1 (2014): 149–67. http://dx.doi.org/10.3366/soma.2014.0117.

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This paper explores a paradox. We breathe in, and then out. We walk by making paces, alternating left and right feet. Walking and breathing are made up of discrete intervals of space and time, involuntary actions of the living body, sustaining continuity. Continuity in movement is constituted by its opposite. The necessity to transpose the weight of our body between first the left and then the right foot creates motion. By analysing these discrete movements, it becomes possible to transpose them into languages of signs and symbols – notation, drawing, documenting what has happened to inform wh

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44

Matsui, Asaki, Hiroshi Toshida, Rio Honda, Takahiko Seto, Toshihiko Ohta, and Akira Murakami. "Preoperative and Postoperative Optical Coherence Tomography Findings in Patients with Rhegmatogenous Retinal Detachment Involving the Macular Region." ISRN Ophthalmology 2013 (September 11, 2013): 1–6. http://dx.doi.org/10.1155/2013/426867.

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Purpose. To evaluate morphologic changes of the macula, we observed eyes with rhegmatogenous retinal detachment (RRD) involving the macular region by optical coherence tomography (OCT). Subjects and Methods. We studied 26 eyes with RRD before and after surgery, assessing visual acuity, the height of retinal detachment at the fovea (HRD), and morphologic changes of the macular region. The interval between the onset and surgery was also determined. We examined the external limiting membrane (ELM) after surgery and the continuity of the inner segment-outer segment junction (IS/OS junction) of the

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45

Cai, Yan, and Liang Zhi Li. "On Surface Continuity in the Procession of Product Design." Applied Mechanics and Materials 620 (August 2014): 60–64. http://dx.doi.org/10.4028/www.scientific.net/amm.620.60.

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The purpose of this paper was to verify the way in which CAD systems and their tools for visual surfaces analysis interact with morphological knowledge in the determination of continuity in product design procession. Geometrical knowledge is necessary but not enough for working with this attribute of form in everyday objects, where cultural factors are involved. Geometry establishes a progressive range of surface continuity that involves the concepts of position, tangency and curvature. In product design different degrees of continuity that not necessarily follow this idea of increment. What i

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46

Ayıran, Nezih. "Architectural Continuity Towards Cultural Sustainability in Bodrum." Open House International 36, no. 2 (2011): 82–96. http://dx.doi.org/10.1108/ohi-02-2011-b0009.

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Mediterranean architecture is considered the predecessor of the modern concept of “bioclimatic” sustainable design due to its climate reactive attitude (Coch H. 1996, Vissilia, A.M. 2009). Another aspect which renders it to be associated with the notion of modern sustainability is the employment of recyclable materials such as natural stone and wood. The vernacular architecture of Bodrum peninsula located in southwestern Turkey bears the typical characteristics of Mediterranean architecture. Since the 1970s, Bodrum has been attracting the attention of local and foreign tourists. The “architect

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47

Williams, Melanie. "The Continuity Girl: Ice in the Middle of Fire." Journal of British Cinema and Television 10, no. 3 (2013): 603–17. http://dx.doi.org/10.3366/jbctv.2013.0160.

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This article offers the first detailed scholarly account of the role of the continuity supervisor, also known as script supervisor, in film production. After examining in more general terms its attendant duties and responsibilities, the typical career trajectories of a number of ‘continuity girls’ working in British cinema and the deeply gendered nature of this section of film production labour, the article goes on to examine continuity supervision in more depth through looking at two specific case studies: two continuity supervisors who worked on several productions directed by David Lean, Ma

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48

Zhu, Shude D., Li Alex Zhang, and Rüdiger von der Heydt. "Searching for object pointers in the visual cortex." Journal of Neurophysiology 123, no. 5 (2020): 1979–94. http://dx.doi.org/10.1152/jn.00112.2020.

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The way we perceive objects as permanent contrasts with the short-lived responses of visual cortical neurons. A theory postulates pointers that give objects continuity, predicting a class of neurons that respond not only to visual objects but also when an occluded object moves into their receptive field. Here, we tested this theory with a novel paradigm in which a monkey freely scans an array of objects while some of them are transiently occluded.

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49

James, David, and Urmila Seshagiri. "Metamodernism: Narratives of Continuity and Revolution." PMLA/Publications of the Modern Language Association of America 129, no. 1 (2014): 87–100. http://dx.doi.org/10.1632/pmla.2014.129.1.87.

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The task for contemporary literature is to deal with the legacy of modernism.—Tom McCarthy (2010)A century separates us from an iconic moment of aesthetic metamorphosis: 1914 witnessed the appearance of James Joyce's Dubliners, Gertrude Stein's Tender Buttons, Mina Loy's “Parturition,” and the vorticist journal Blast. It was the year Dora Marsden and Harriet Shaw Weaver, aided by Ezra Pound, started the literary review the Egoist in London and Condé Nast and Frank Crowninshield launched Vanity Fair in New York. Arnold Schoenberg's atonal symphonic works assaulted classical sonorities; Wassily

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50

Large, Mary-Ellen, Adrian Aldcroft, and Tutis Vilis. "Perceptual Continuity and the Emergence of Perceptual Persistence in the Ventral Visual Pathway." Journal of Neurophysiology 93, no. 6 (2005): 3453–62. http://dx.doi.org/10.1152/jn.00934.2004.

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Perceptual continuity is an important aspect of our experience of the visual world. In this study, we focus on an example of perceptual continuity involving the maintenance of figure—ground segregation despite the removal of binding cues that initiated the segregation. Fragmented line drawings of objects were superimposed on a background of randomly oriented lines. Global forms could be discriminated from the background based on differences in motion or differences in color/brightness. Furthermore, perception of a global form persisted after the binding cue had been removed. A comparison betwe

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