Articles de revues sur le sujet « Conveyance of image »

Digital Elevation Models (DEMs) are widely used as a proxy for bathymetric data and several studies have attempted to improve DEM accuracy for hydrodynamic (HD) modeling. Most of these studies attempted to quantitatively improve estimates of channel conveyance (assuming a non-braided morphology) rather than accounting for the actual channel planform. Accurate representation of river conveyance and planform in a DEM is critical to HD modeling and can be achieved with a combination of remote sensing (e.g., satellite image) and field data, such as water surface elevation (WSE). Therefore, the objectives of this study are (i) to develop an algorithm for predicting channel conveyance and characterizing planform via satellite images and in situ WSE and (ii) to estimate discharge using the predicted conveyance via an HD model. The algorithm is named River Bathymetry via Satellite Image Compilation (RiBaSIC) and uses Landsat satellite imagery, Shuttle Radar Topography Mission (SRTM) DEM, Multi-Error-Removed Improved-Terrain (MERIT) DEM, and observed WSE. The algorithm is tested on four study areas along the Willamette River, Kushiyara River, Jamuna River, and Solimoes River. Channel slope and predicted hydraulic radius are subsequently estimated for approximating Manning’s roughness factor. Two-dimensional HD models using DEMs modified by the RiBaSIC algorithm and corresponding Manning’s roughness factors are employed for discharge estimation. The proposed algorithm can represent river planform and conveyance in single-channeled, meandering, wandering, and braided river reaches. Additionally, the HD models estimated discharge within 14–19% relative root mean squared error (RRMSE) in simulation of five years period.

In order to realize the work of goods conveyance etc. by robot, localization of robot position is fundamental technology component. Map matching methods is one of the localization technique. In map matching method, usually, to create the map data for localization, we have to operate the robot and measure the environment (teaching run). This operation requires a lot of time and work. In recent years, due to improved Internet services, aerial image data is easily obtained from Google Maps etc. Therefore, we utilize the aerial images as a map data to for mobile robots localization and navigation without teaching run. In this paper, we proposed the robot localization and navigation technique using aerial images. We verified the proposed technique by the localization and autonomous running experiment.

La creación y transmisión de una determinada imagen mediática en coherencia con unos objetivos previamente definidos requiere un plan de comunicación estratégico, del cual el protocolo es parte fundamental. El propósito de este trabajo es comprobar cómo los criterios protocolarios de jerarquía espacial y escenografía simbólica afectan a la imagen de una autoridad. Este estudio concluye que el actor político comunica control, dominio, autoridad y poder mediante la observancia de las normas protocolarias. Sin embargo, se ha comprobado que el protocolo deja sin cobertura aspectos primordiales del control estratégico de la imagen pública. Resulta, pues, insuficiente si no se complementa con otros canales no verbales que transmiten atributos asociados al carisma.____________________________The creation and conveyance of a specific media image related to previously defined objectives require a strategic communication plan, of which Protocol is a fundamental part. This research contributes to demonstrate how the protocol criteria of space, hierarchy and symbolic scenery affect a leader´s image. It is concluded that the leader conveys control, dominance, authority and power through the respect of the protocol rules. However, protocol does not take into account many remarkable aspects of the strategic control of the politician´s image. Subsequently, this research proposes that it should be complemented with channels of the non-verbal language in charge of conveying the qualities linked to charisma.

The radiology report is the culmination of image acquisition, meticulous interpretation, and the generation of deliberate and thoughtful recommendations. It is essentially a translation of images into words, and as such must convey as much pertinent detail needed by the clinician in as concise a format as possible. Several important factors affect the overall quality of the finished report. Active voice helps to convey information more confidently, and in a manner that is easier to read and understand. The use of several words and phrases is frowned upon, as it makes the radiologist sound uncertain. The manner in which the impression is stated can significantly influence the ordering physician's decision as to whether to follow the radiologist's recommendations. Critical findings must be promptly communicated to the appropriate health care provider, and documented in the final report. By following the guidelines illustrated in this article, radiologists will learn how to create a perfected report, which will be concise, convey important findings while answering the clinical question posed, and will be favorably viewed by the requesting physician.

Safe conveyance of medical data across unsecured networks nowadays is an essential issue in telemedicine. With the exponential growth of multimedia technologies and connected networks, modern healthcare is a huge step ahead. Authentication of a diagnostic image obtained from a specialist at a remote location which is from the sender is one of the most challenging tasks in an automated healthcare setup. Intruders were found to be able to efficiently exploit securely transmitted messages from previous literature since the algorithms were not efficient enough leading to distortion of information. Therefore, this study proposed a modified least significant bit (LSB) technique capable of protecting and hiding medical data to solve the crucial authentication issue. The application was executed and established by utilizing MATLAB 2018a, and it used a logical bit shift operation for execution. The investigational outcomes established that the proposed technique can entrench medical information without leaving a perceptible falsification in the stego image. The result of this implementation shows that the modified LSB image steganography outperformed the standard LSB technique with a higher PSNR value and lower MSE value when compared with previous research works. The number of shifts was added as a new performance metric for the proposed system. The study concluded that the proposed secured medical information system was evidenced to be proficient in secreting medical information and creating undetectable stego images with slight entrenching falsifications when likened to other prevailing approaches.

The role of the existence of graphic design as one of the most important ways of conveyance of visual communication in modern society is determined. Visual communications are considered as a process of the need to study the totality of problems, especially those connected with the interaction of the “person – environment” system, meant for conveying visual information. The paper supports the statement that visual communications should be considered as a visual language, by using, it is possible to significantly diversify communicated information in society. The article identifies three types of communication: visual, audiovisual (the image is accompanied by sound content) and animated (a static image becomes dynamic, accompanied by sound). It is concluded that the development of visual communications will help improve the quality of perception of information, which is often associated with a flawlessly elaborated graphic design. The brand creation methods as one of the most important factors in the development of visual communications today in modern society are considered and described in detail.

The role of the existence of graphic design as one of the most important ways of conveyance of visual communication in modern society is determined. Visual communications are considered as a process of the need to study the totality of problems, especially those connected with the interaction of the “person – environment” system, meant for conveying visual information. The paper supports the statement that visual communications should be considered as a visual language, by using, it is possible to significantly diversify communicated information in society. The article identifies three types of communication: visual, audiovisual (the image is accompanied by sound content) and animated (a static image becomes dynamic, accompanied by sound). It is concluded that the development of visual communications will help improve the quality of perception of information, which is often associated with a flawlessly elaborated graphic design. The brand creation methods as one of the most important factors in the development of visual communications today in modern society are considered and described in detail.

It is difficult to keep the precise conveyance in film discontinuous winding system, while there are no etch or print marks on the transparent film. Based on dark field illumination theory, a micro-indentation detection method is proposed for multilayer structured transparent film roll-to-roll processing. Two parallel strip lights are involved in the vision system to illuminate the indentation at a low angle, which ensures that the distinct image of the cutting indentation can be obtained in reflection and diffuse homogeneous lights. The measurement of micro-indentations can be used to evaluate the film conveying positioning accuracy and calculate the compensation of film feeding position control. An experiment platform was established to show the efficiency and feasibility of proposed scheme. Experimental results showed that the micro-indentation detection method, based on dark field illumination, is successful to increase the feeding precision of multilayer structured transparent film discontinuous winding system.

Far from being merely a medium of simplification and conveyance of scientific facts, motion pictures exhibit an important epistemic function. On the one hand, the medium film is itself a product of research in various fields, on the other hand, it retroacts on perception and problem-solving in science, thereby influencing and changing research practices. The paper aims at describing these reciprocal effects and synergies by discussing two examples: first by the film “The principles of Einstein’s theory of relativity”, first released in Germany in 1922, second by the film “Mathematical image of the struggle for life”, produced in 1937 for the inauguration of the “Palace of discoveries” in Paris, demonstrating the latest developments in evolutionary theory. It becomes evident that picture media have the capacity to transform the symbolic dimension of things and bodies, thereby offering new access to reality, which not only fascinated the spectators, but also inspired scientific research.

Dams are important for flood mitigation, water supply, and hydroelectricity. Every dam has a water conveyance structure, such as a spillway, to safely release extreme floods when needed. The flows down spillways are often self-aerated and spillway design has typically been investigated in laboratory experiments, which is due to limitations in suitable full scale flow measurement instrumentation and safety considerations. Prototype measurements of aerated flows are urgently needed to quantify potential scale effects and to provide missing validation data for design guidelines and numerical simulations. Herein, an image-based analysis of free-surface flows on a stepped spillway was conducted from a top-view perspective at laboratory scale (fixed camera installation) and prototype scale (drone footage). The drone videos were obtained from citizen science data. Analyses allowed to remotely estimate the location of the inception point of free-surface aeration, air–water surface velocities, and their fluctuations, as well as the residual energy at the downstream end of the chute. The laboratory results were successfully validated against intrusive phase-detection probe data, while the prototype observations provided proof of concept at full scale. This study highlights the feasibility of image-based measurements at prototype spillways. It demonstrates how citizen science data can be used to advance our understanding of real world air–water flow processes and lays the foundations for the remote collection of long-missing prototype data.

In this paper, we used TM image data in the lower reaches of the Tarim River as well as ecosystem service value assessment methods, and assessed the change of regional land use/ cover and analyzed its ecosystem service value, and discussed the driving forces of the change factors. The results show that : the study area is mainly grassland and desert grasslands accounted for more than 43% , the desert about 32% , less than 6% of the forest area , waters and wetlands area , less than 1% of the total area, which mean that the area is mainly the oasis agriculture , desertification serious water shortages. Since 2000, the , the ecological restoration project significantly effective under the emergency water conveyance on the lower reaches of the Tarim River, woodland restoration and water area increased , the desert area has decreased. GDP continued to increase from 2000 to 2005, the value of ecosystem services greatly reduce. In a shorter time scale, agricultural development and human activity are the dominant factors of the transfer of the value of ecosystem structure adjustment and service functions in the study area.

A hospital disaster drill is commonly carried out based on the activities assigned beforehand by the occupational description. However, it is difficult for each staff the role is fixing to understand the global image of a disaster correspondence in a hospital disaster when their role is assigned and fixed. We have developed the understandable drill about the whole practice at each hospital in disaster. We keenly realized the necessity of a standard disaster medicine. Therefore we have developed the disaster drill which can be held per hospital. As a goal of a course, each hospital personnel could understand the global image of the disaster, and aimed at the daily course which can master necessary minimum skill to correspond a disaster in each hospital. From the reasons above, we created the course which consisted of a lecture, individual skill training, and a gross training. As essential skill, it starts with (1) management of disaster countermeasures office (2) management of triage post (3) treatment at room (4) support of conveyance between hospitals (5) information control. In order to employ these individual skill booths efficiently we divided attendances into five groups. Five hospitals started from 2008, were carried out 11 times, and about 500 persons took this disaster drill on a course. We expect that cost to bellower, the course to be simpler, and the quality of training will improve by holding this course repeatedly.

The subject of this research is the translations of the Russian poets conducted within the framework of various literary and translation paradigms. Translations of the poem by Leconte de Lisle "Le parfum impérissable" made by I. F. Annensky, N. S. Gumilyov and M. L. Lozinsky (the latter two feature cross corrections). The three translators admired the work of de Lisle; Annensky and Gumilyov borrowed the key images from the poetry of the French author in their original works. Research methodology employs comparative analysis of the original texts and translations, with the elements of hermeneutical and component analysis of the text. The main conclusions consists in determination of the conceptual difference between the creative translation paradigms of the early XX century and such in the context of the publisher “The World Literature”. The translation by I. F. Annensky conducted in 1904 presents liberal and symbolic interpretation of the original: the poet places emphasis on the symbol of the never-dying flavor of eternal love, enclosed in the heart as in a vessel. Translations by N. S. Gumilyov and M. L. Lozinsky are notable by adhering to the original form of the sonnet and conveyance of a broad cultural context: the oriental flavor and image of the aroma-genie-spirit of love enclosed in the heart-vessel described by de Lisle. Most accurate translation of the cultural context was carried out by M. L. Lozinsky, whose version is recognized as final in the manuscript revisions of Leconte de Lisle’s texts.

The functions of river floodplains often conflict spatially, for example, water conveyance during peak discharge and diverse riparian ecology. Such functions are often associated with floodplain vegetation. Frequent monitoring of floodplain land cover is necessary to capture the dynamics of this vegetation. However, low classification accuracies are found with existing methods, especially for relatively similar vegetation types, such as grassland and herbaceous vegetation. Unmanned aerial vehicle (UAV) imagery has great potential to improve the classification of these vegetation types owing to its high spatial resolution and flexibility in image acquisition timing. This study aimed to evaluate the increase in classification accuracy obtained using multitemporal UAV images versus single time step data on floodplain land cover classification and to assess the effect of varying the number and timing of imagery acquisition moments. We obtained a dataset of multitemporal UAV imagery and field reference observations and applied object-based Random Forest classification (RF) to data of different time step combinations. High overall accuracies (OA) exceeding 90% were found for the RF of floodplain land cover, with six vegetation classes and four non-vegetation classes. Using two or more time steps compared with a single time step increased the OA from 96.9% to 99.3%. The user’s accuracies of the classes with large similarity, such as natural grassland and herbaceous vegetation, also exceeded 90%. The combination of imagery from June and September resulted in the highest OA (98%) for two time steps. Our method is a practical and highly accurate solution for monitoring areas of a few square kilometres. For large-scale monitoring of floodplains, the same method can be used, but with data from airborne platforms covering larger extents.

Play is usually regarded as the starting point of Beckett's late theatre, introducing a radically new approach to the body and language that set a benchmark for subsequent plays such as Not I, That Time and Footfalls. Building on Krapp's Last Tape and Happy Days, Play dehumanizes its characters by means of the audiovisual technologies that Beckett was experimenting with at the time. In this process, his human subjects are increasingly reduced to mechanical devices or mouthpieces for the conveyance of speech, instead of represented as recognizable and sentient beings of flesh and blood. The nonhuman aspect of Play is enhanced by its foregrounding of Beckett's long-standing fascination with the mineral, with the characters' faces being ‘so lost to age and aspect as to seem almost part of the urns’. Whereas, separately, the influence of radio, television and cinema on Play has received some critical attention, and James Knowlson, Claire Lozier, Mark Nixon, Jean-Michel Rabaté and Conor Carville, among others, have noted Beckett's fascination with the sculptural arts and the inorganic, this paper aims to merge those two strands by discussing the docufilm Les statues meurent aussi (1953) as a potential but overlooked source of inspiration. By combining the technological and the sculptural in Play, Beckett stages a ‘mineral mechanics’ verging closely on the nonhuman without being fully dehumanized, as characters continue to laugh and hiccup, barely retaining a trace of their humanity. This oscillation from the human to the nonhuman and vice versa is clearly traceable in the genesis of the text, as well as its French translation (Comédie). The result, Play's iconic stage image, is marked by the familiar Beckettian trope of in-betweenness: between life and death, between the organic and the mineral, between the natural and the technological.

In spite of canals are most important conveyance systems for delivering water for irrigation in the alluvial plains of India, many irrigation canal projects are suffering from massive growth aquatic plants along the canal sides known as aquatic weeds and siltation along canal bed. Aquatic weeds are unwanted plants playing a very important role in different eco-systems and many of them cause enormous direct and indirect losses. The losses include interference with the cultivation of crops, loss of biodiversity, loss of potentially productive lands, loss of grazing areas and livestock production, erosion following fires in heavily invaded areas, choking of navigational and irrigation canals and reduction of available water in water bodies. Also, it has been found that it severely reduces the flow capacity of irrigation canals thereby reducing the availability of water to the farmers. The vegetation on bottom and sides of the canal increases the roughness resulted into a decrease in velocity which further leads to silt deposition on canal bed which affects the canal functions. The complexity of these situations has resulted in a need for identification of impact of weeds on the hydraulic efficiency of canals. For accurate identification of weeds, low altitude drone survey becomes an innovative solution than other conventional methods. This study captured vegetation along the canal using the drone images and estimated roughness shows, the reduction in conveyance efficiency by 21.90% compared with design data.

Abstract This article explores how American Orthodox Christians today use and interpret icons in the course of their everyday devotional lives. Drawing upon ethnographic data collected through participant observation and interviews with parishioners of an Orthodox Church in Mississippi in 2015, I highlight the ways that diverse and multiple media within a wider American context of “buffet-style” spiritual appropriation affect informant considerations of and interactions with icons. Fundamental to this article is the tension between informants’ experiences with icons as the conveyance of divine “presence” and the concerns they express over the extent to which American commodification and mass-media cultures threaten the status and sacrality of images in Orthodox devotional practice.

Assimilation of migrants is assumed to happen through acculturation, which is depicted as neutral, unintended and invisible. In most accounts the role of social actors is pushed into the background, and the conditions that shape and determine the direction of the acculturation are ignored. A further critique of the acculturation concept is that the content of the conveyed culture is not disclosed nor are the outcomes hinted at. We argue that the concept of norm images redresses these criticisms by eliciting the cultural content and specifying the role of actors, that is, professionals, in the conveyance of culture. Using the example of the Amsterdam police force, we demonstrate that police officers impose crucial elements of the Dutch nationalistic discourse, specifically language and loyalty, on migrant citizens and migrant colleagues alike. Thus these police officers operate as reproducers of the social order cemented by Dutch nationalism.

The object of this research is images of the past, actualized in the festival practices of cultural-historical reconstruction. The subject of this research is the mechanisms of formation and strategies of representation of images of the past in the festivals of cultural-historical reconstruction. It is noted that the author views festival as the representative of the more general phenomenon –  cultural-historical reconstruction, an integral interpretation of which allows embracing the variety of nonacademic practices aimed at studying and most accurate reconstruction of the material and spiritual culture of the past, preservation, actualization, representation and conveyance of cultural-historical values. In the context of commemorative practices of reconstruction, arrangement and representation of images of the past is conducted “intentionally, collectively and adapted for stage”. Relevance of the selected topic is defined by the fact that the reenactment movement becomes an increasingly meaningful actor in commemorative space of modern Russia, which significantly affects the formation of consensual images of the past. From theoretical and methodological perspective, the conducted analysis is based on the conceptual approaches presented in the Russian historical-culturological research on imagery. Internet resources, such as websites and forums of reenactors, social networks, and online media, served as the empirical foundation for this research. In the course of preparation and execution of cultural-historical reconstructions, the author employed quantitative and qualitative methods, including of thorough overt observation. As a result of the conducted analysis, the author determines specificity of the mechanisms for creating authentic images of the past and strategies for revealing collective representations on the past in the festivals of cultural-historical reconstruction, which have a positive impact upon ordinary consciousness.

Abstract Although Korean and Chinese are not from the same family of languages, they have the common denominator of cognate signifiant that is, both languages can be written with the same methods of expression. In this case cognate signifiant means that both Korean and Chinese can be expressed in Chinese characters. There are many similarities in the visual and acoustic images of the two languages and for this reason cognate signifiant persistently intervenes in interpretation of one to the other. Therefore, the purpose of this study is to highlight through the analysis of case studies how cognate signifiant causes interference by hindering the extraction of meaning in Korean-Chinese interpretation, and to explore ways of increasing Korean-Chinese interpretation ability based on the results of such research. In order to approach this issue, recorded examples of incorrect interpretation resulting from interference caused by cognate signifiant will be analyzed from the perspective of interpretation studies, which places importance on the conveyance of meaning for the purpose of achieving communication. Based on the results of such research, strategies to effectively block interference resulting from cognate signifiant will be established.

Purpose The purpose of this paper is to address the contemporary interest in participatory destination branding. Because of a lack of empirical and evaluative studies on this form of branding, the current case study examines a volunteer resident ambassador program, which began as part of Aarhus, Denmark’s year as a European City of Culture in 2017, and has become permanent because of its success. Design/methodology/approach The case study is based on official document analyses, participant observations of program activities, and interviews with volunteer program managers and volunteers who greet cruise ship tourists. Findings Findings indicate that while the two managers and the volunteers all report on three volunteer roles – personal hosts, place promoters and providers of information – they prioritize and understand the roles differently. Similarly, the volunteers’ encounters with visitors are all unique, and this inevitably results in the conveyance of unruly and incidental destination images. Practical implications This unruliness is not necessarily problematic: despite the wide-spread interest in the management of participative branding initiatives, it is seen to be the lack of explicit brand-centered management that fosters the program’s positive outcomes, including authentic and pleasant interactions between volunteers and tourists, which, in turn, result in positive attitudes amongst tourists toward their visit. Originality/value This study discovers that positive participatory destination branding outcomes depend on managers respecting the ambassadors’ coveted autonomy, and letting go of control of a destination brand. Because of the growing hostility toward mass tourism in cities internationally, it is also noted that a resident ambassador program’s success is expected to depend on residents’ positive attitudes toward tourists.

This article, written by JPT Technology Editor Chris Carpenter, contains highlights of paper SPE 202683, “Marrying the Static and Dynamic Worlds: Enhancing Saturation and Permeability Interpretation Using a Combination of Multifrequency Dielectric, Nuclear Magnetic Resonance, and Wireline Formation Testers,” by Hassan Mostafa, Ghassan Al-Jefri, SPE, and Tania Felix Menchaca, SPE, ADNOC, et al., prepared for the 2020 Abu Dhabi International Petroleum Exhibition and Conference, Abu Dhabi, held virtually 9–12 November. The paper has not been peer reviewed. Accurate water saturation evaluation and permeability profiling are crucial factors in determining volumetrics and productivity of multiple, stacked carbonate reservoirs offshore Abu Dhabi and derisking reservoir management. The case study presented in the complete paper illustrates how the integration of static measurements, such as dielectric dispersion and nuclear magnetic resonance (NMR) with dynamic measurements improves understanding of reservoir properties and supports more-accurate reservoir evaluation. Sampling and downhole fluid analysis (DFA) performed by wireline formation tester (WFT) identifies the fluid and rock properties in various flow units. Field Background and Challenges Optimal field development requires accurate estimations of water saturation and permeability. In this greenfield, the hydrocarbon is generally oil (medium to light) with very low asphaltene content. Overall, the reservoir quality is controlled by a combination of depositional environment, sequence stratigraphy, and diagenesis. Some reservoirs have good porosity, but reconciliation of log-based water saturation results with well-test results has been an issue. The objective in this case study was to drill a pilot hole for data gathering in a poorly characterized field location. Phase I included drilling a hole with a 55° deviation to cover all reservoirs for data gathering only, with the openhole reservoir section then being plugged and abandoned. Phase II of the plan was to sidetrack and complete the well as dual water-injector boreholes. In the reservoir section of the pilot borehole, a variety of logs was acquired for evaluation, including both logging-while-drilling and wireline measurements. While drilling, triple- combination data were acquired, consisting of gamma ray, resistivity, and nuclear logs (density neutron) along with resistivity images. The wireline-logging program was carried out in two stages to avoid differential sticking. In the first stage, the WFT was used to acquire 10 pressure points, seven points in the first reservoir and three points in the second. Two DFA stations were also recorded in Zone 1 to confirm whether the oil/water contact was deeper than expected. Logging was conducted using a high-tension wireline cable, which facilitates quicker accessibility to the openhole sections. In the second stage, multiple wireline runs were performed for the formation evaluation of the complete section, followed by the WFT pressure and fluid-sampling run on the drillpipe conveyance. Another critical challenge was to obtain accurate water saturations in the heterogeneous, minor, thin reservoirs, which are bounded by dense layers above and below and cause shoulder-bed effects. The third challenge in this well was to obtain an accurate, continuous, and representative permeability profile for the multiple reservoirs. WFT mini-drillstem test (DST) stations along with NMR logs were used to address this important requirement.

The vehicles playing the vital role in our day to day life for transport, and some of the vehicles violates the traffic rules are also increasing, vehicle theft, unnecessary entering into highly restricted areas, increased number of accidents lead to increase in the rate of crime slowly. The vehicle had its own identity it should be recognized which plays the major role in the world. For recognition of the vehicles which are used commonly in the field of safety and security system, LPDR plays a major role and the vehicle registration number is recognized at some certain distance accurately. License Plate recognition is the most efficient and cost effective technique used for detection and recognition purposes. Automatic license plate recognition (ALPR) is used for finding the location of the license plate in the vehicle. These methods and techniques vary based on the conditions like, quality of the image, vehicle on a fine-tuned position, effects of lighting, type of image, etc. The objective is to design an efficient automatic conveyance identification system of sanctioned or unauthorized in the residential societies by utilizing the conveyance number plate. By getting the car image from the surveillance camera in the entrance, we recognizing the number plate and the characters are extracted using OCR (optical character recognition). It converts the character in the image to plain text. Then the plain text of the license plate is cross-verified with the database to check whether the vehicle belongs to residents or visitor. It sends the alert message to the security official when a new visitor request method in a residential area. The log details are stored separately for the resident and visitor in the database. It also provides the details about the parking area availability in the residential area. By calculating the number of vehicles in and out of the area, the detail or availability parking slot is displayed and it sis robust to the size, lighting effects with high rate of detection.

In this advanced world with the growing technology, the demand for security of information is needed in any communication streams of data which is being conveyance from host to intended host over the internet. Obviously, a huge & numerous amount of the data or the information are transferred in our everyday. So, the demand for securing information has become the main concern. Image Steganography is one of the important areas in the field of Steganography. The main purpose of steganography is to protect the surreptitious information from others except from intended receiver & by increasing the security of the covert data in the significant way that information can’t be revealed although the intruder knows the methodology of the embedding process. In this paper, The aim is to propose a different yet, an innovative steganographical technique which provides the security on our digital image, and by using a quality measuring technique like Mean Square Error(MSE), Peak Signal Noise Ratio (PSNR) which assure the quality of image has been not degraded even after infusing the covert data inside the image. So to overcome these issues, this paper, suggests a new method to maintain the quality of the image. After embedding the authenticated information in the cover image using Region-Based Least Significant Bit (LSB) technique that provides security of digital image

Individuals communicate with one another to pass on their thoughts to the general population around them. There are 2.78% of the total populations of India who can’t speak. Gesture based communication is really a mode of correspondence for the general population who are either deaf or deaf-mute. Ordinary individuals don't become familiar with the gesture based communication. It causes conveyance gap between deafdumb and normal people. The past system of this project involved using image processing concept. But the downside of these past frameworks are projects were non portable and excessively costly. The aim behind this work is to build up a framework for perceiving the gesture based communication, which provides interaction between people who are deaf-dumb and normal people, thereby diminishing the interaction gap between them. Generally hearing-impaired people use linguistic communication based on hand gestures with specific movements to represent the ideas to others. The proposed glove is an robotic gadget that interprets American Sign Language Standard into text or speech in order to evacuate the information transmission gap between the mute and the ordinary public. This glove has been actualized with the assistance of flex sensors, accelerometer, microcontroller (Arduino Nano) and the Bluetooth chip.

Inspired by the expansion of minimal effort advanced cameras in cell phones being conveyed in computerized systems, we think about the connection between perceptual picture quality and an exemplary PC vision errand of face recognition. We measure the corruption in execution of a well known and compelling face detector when human-saw image quality is corrupted by twists usually happening in catch, stockpiling, and transmission of facial pictures, including clamor, obscure, and pressure. It is observed that, inside a certain scope of picture quality, an unobtrusive increment in picture quality can radically enhance face recognition execution. These outcomes can be utilized to guide asset or transfer speed distribution in securing or correspondence/conveyance frameworks that are connected with face location undertakings. In this work a perceptual quality QualHOG feature is used. Face locators prepared on these new components give measurably huge change in resilience to picture bends over a solid gauge. Distortion dependent which is more distorted uninformed variations of the face indicators are proposed and assessed on a huge database of face pictures speaking to an extensive variety of mutilations. A one-sided variation of the preparing calculation is additionally recommended that further improves the power of these face locators. To encourage this exploration, we have developed another dataset in our lab for further study.

The whole cycle of William Shakespeare’s sonnets was translated into Lithuanian at different periods by four poet-translators: in emigration (USA) by Alfonsas Šešplaukis-Tyruolis (1964), in Soviet Lithuania by Aleksys Churginas (1965), and after the restoration of Independence in Lithuania, translations done by Sigitas Geda (2009) and Tautvyda Marcinkevičiūtė (2011) came out of print. This article focuses on the sonnet translations done by the most famous poet Geda (an in-depth analysis of Sonnets 18, 72 and 116 is offered) and it concentrates on the issues of Shakespearean realia, popular cultural images as well as on the selection, transfer, transformation and representation of typical poetic elements. In his sonnet translations, Geda generally retained their structure, their syntactic and semantic nucleus – mainly, by means of extended metaphor and antithesis; although some failure in rendering the poetics of the original and, consequently, loss of meaning are noticeable. His translations demonstrate a rather improvised and inconsistent conveyance of historic cultural signs. It might be the case that Geda did not feel obliged to retain the dignified image of Shakespearean times and the Renaissance era at large, and he obviously favoured his own culture. When rendering the historic context of sonnets, he made them somewhat archaic-like by using down-to-earth language; thus making the sonnets sound more local and giving them folk-like characteristics, by emphasizing the lower register of their contrastive style. In this way, he did not attempt at competing with the translations done by Churginas that were dominant in Soviet times and still remain popular in the present day but he rather tried to bridge the gap between the ‘high’ culture of English Renaissance and the ‘low’ Lithuanian culture.

The whole problem of speaking about the end…is that you have to speak of what lies beyond the end and also, at the same time, of the impossibility of ending. Jean Baudrillard, The Illusion of the End(110) Jean Baudrillard’s insights into finality demonstrate that “ends” always prompt cultures to speculate on what can or will happen after these terminations and to fear those traumatic ends, in which the impossible actually occurs, may only be the beginning of chaos. In the absence of “rational” explanations for catastrophic ends and in the whirlwind of emotional responses that are their after-effects, the search for beginnings and origins – the antitheses of Baudrillard’s finality – characterises human response to tragedy. Strangely, Baudrillard’s engagement with the end is linked to an articulation predicated on our ability “to speak” events into existence, to conjure and to bridle those events in terms of recognisable, linear, and logical arrangements of words. Calling this verbal ordering “the poetry of initial conditions” (Baudrillard 113) in which memory imposes a structure so that the chaotic/catastrophic may be studied and its elements may be compared, Baudrillard suggests that this poetry “fascinates” because “we no longer possess a vision of final conditions” (113). The images of contemporary catastrophes and their subsequent visualisation serve as the ultimate reminders that we, as viewers and survivors, were not there – that visualisation itself involves a necessary distance between the horrified viewer and the viewed horror. In the case of the September 11, 2001, attacks on the World Trade Centre, the need to “be there,” to experience vicariously a trauma as similarly as possible to those who later became its victims, perhaps explains why images of the planes first slamming into each of the towers were played and repeated ad nauseam. As Baudrillard suggests, “it would be interesting to know whether…effects persist in the absence of causes … whether something can exist apart from any origin and reference” (111). The ongoing search for these causes – particularly in the case of the World Trade Centre’s obliteration – has manifested itself in a persistent cycle of image production and consumption, prompting those images to serve as the visible/visual join between our own survival and the lost lives of the attacks or as surrogates for those whose death we could not witness. These images frequently allowed the West to legitimise its mourning, served as the road map by which we could (re-)explore the halcyon days prior to September 11, and provided the evidence needed for collective retribution. Ultimately, images served as the fictive embodiments of unseen victims and provided the vehicle by which mourning could be transformed from an isolated act to a shared experience. Visitors on the Rooftop: Visualising Origins and the Moments before Destruction It goes without saying that most have seen the famous photograph of the bundled-up tourist standing on the observation deck of the World Trade Centre with one of the jets ready to strike the tower shortly thereafter (see Figure 1). Though the photograph was deemed a macabre photo-manipulation, it reached thousands of e-mail inboxes almost two weeks following the horrific attacks and led many to ponder excitedly whether this image truly was the “last” image of a pre-September 11 world. Many openly debated why someone would fabricate such an image, yet analysts believe that its creation was a means to heal and to return to the unruffled days prior to September 11, when terrorism was thought to be a phenomenon relegated to the “elsewhere” of the Middle East. A Website devoted to the analysis of cultural rumours, Urban Legends, somewhat melodramatically suggested that the photograph resurrects what recovery efforts could not re-construct – a better understanding of the moments before thousands of individuals perished: The online world is fraught with clever photo manipulations that often provoke gales of laughter in those who view them, so we speculate that whoever put together this particular bit of imaging did so purely as a lark. However, presumed lighthearted motives or not, the photo provokes sensations of horror in those who view it. It apparently captures the last fraction of a second of this man’s life ... and also of the final moment of normalcy before the universe changed for all of us. In the blink of an eye, a beautiful yet ordinary fall day was transformed into flames and falling bodies, buildings collapsing inwards on themselves, and wave upon wave of terror washing over a populace wholly unprepared for a war beginning in its midst…The photo ripped away the healing distance brought by the nearly two weeks between the attacks and the appearance of this digital manipulation, leaving the sheer horror of the moment once again raw and bared to the wind. Though the picture wasn’t real, the emotions it stirred up were. It is because of these emotions the photo has sped from inbox to inbox with the speed that it has. (“The Accidental Tourist”) While the photograph does help the viewer recall the times before our fears of terrorism, war, and death were realised, this image does not episodically capture “the last fraction of a second” in a man’s life, nor does it give credibility to the “blink-of-an-eye” shifts between beautiful and battered worlds. The photographic analysis provided by Urban Legends serves as a retrospective means of condensing the space of time in which we must imagine the inevitable suffering of unseen individuals. Yet, the video of the towers, from the initial impacts to their collapse, measured approximately 102 minutes – a massive space of time in which victims surely contemplated escape, the inevitability of escape, the possibility of their death, and, ultimately, the impossibility of their survival (“Remains of a Day” 58). Post-traumatic visualising serves as the basis for constructing the extended horror as instantaneous, a projection that reflects how we hoped the situation might be for those who experienced it, rather than an accurate representation of the lengthy period of time between the beginning and end of the attacks. The photograph of the “accidental tourist” does not subscribe to the usual tenets of photography that suggest the image we see is, to quote W.J.T. Mitchell, “a purely objective transcript of reality” (Mitchell 281). Rather, this image invites a Burginian “inva[sion] by language in the very moment it is looked at: in memory, in association, [where] snatches of words and images continually intermingle and exchange one for the other” (Burgin 51). One sees the tourist in the photograph as a smiling innocent, posing at the wrong place and at the wrong time. Through that ascription, viewers may justify their anger and melancholy as this singular, visible body (about to be harmed) stands in for countless, unseen others awaiting the same fate. Its discrepancies with the actual opening hours of the WTC observation deck and the positioning of the aircraft largely ignored, the “accidental tourist” photo-manipulation was visualised by countless individuals and forwarded to a plethora of in-boxes because September 11 realities could not be shared intimately on that day, because the death of aircraft passengers, WTC workers, and rescue personnel was an inevitable outcome that could not be visualised as even remotely “actual” or explainable. Computer-based art and design have shown us that approximations to reality often result in its overall conflation. Accordingly, our desperate hope that we have seen glimpses of the moments before tragedy is ultimately dismantled by an acknowledgement of the illogical or impossible elements that go against the basic rules of visualisation. The “accidental tourist” is a phenomenon that not only epitomises Baudrillard’s search for origins in the wake of catastrophic effects, but underscores a collective need to visualise bodies as once-living rather than presently and inevitably dead. Faces in the Smoke: Visualising the Unseen Although such photo-manipulations were rampant in the days and weeks following the attack, many people constructed their own realities in the untouched images that the media streamed to them. The World Trade Centre disaster seemed to implore photography, in particular, to resurrect both the unseen, unremembered moments prior to the airliners’ slamming into the building and to perform two distinct roles as the towers burned: to reaffirm the public’s perception of the attack as an act of evil and to catalyse a sense of hope that those who perished were touched by God or ushered peacefully to their deaths. Within hours of the attacks, photographic stills captured what many thought to be the image of Satan – complete with horns, face, eyes, nose, and mouth – within the plumes of smoke billowing from one of the towers (see Figure 2 and its detail in Figure 3). The Associated Press, whose footage was most frequently used to reference this visual phenomenon, quickly dismissed the speculation; as Vin Alabiso, an executive photo editor for AP, observed: AP has a very strict policy which prohibits the alteration of the content of a photo in any way…The smoke in this photo combined with light and shadow has created an image which readers have seen in different ways. (“Angel or Devil?”) Although Alabiso’s comments defended the authenticity of the photographs, they also suggested the ways in which visual representation and perception could be affected by catastrophic circumstances. While many observers openly questioned whether the photographs had been “doctored,” others all too willingly invested these images with ethereal qualities by asking if the “face” they saw was that of Satan – a question mirroring their belief that such an act of terrorism was clear evidence of evil masterminding. If, as Mitchell has theorised, photographs function through a dialogical exchange of connotative and denotative messages, the photographs of the burning towers instead bombarded viewers with largely connotative messages – in other words, nothing that could precisely link specific bodies to the catastrophe. The visualising of Satan’s face happens not because Satan actually dwells within the plumes of smoke, but because the photograph resists Mitchell’s dialogue with the melancholic eye. The photograph refuses to “speak” for the individuals we know are suffering behind the layers of smoke, so our own eye constructs what the photograph will not reveal: the “face” of a reality we wish to be represented as deplorably and unquestionably evil. Barthes has observed that such “variation in readings is not … anarchic, [but] depends on the different types of knowledge … invested in the image…” (Barthes 46). In traumatic situations, one might amend this analysis to state that these various readings occur because of gaps in this knowledge and because visualisation transforms into an act based on knowledge that we wish we had, that we wish we could share with victims and fellow mourners. These visualisations highlight a desperate need to bridge the viewer’s experience of survival and their concomitant knowledge of others’ deaths and to link the “safe” visualisation of the catastrophic with the utter submission to catastrophe likely felt by those who died. Explaining the faces in the smoke as “natural indentations” as Alabiso did may be the technical and emotionally neutral means of cataloguing these images; however, the spotting of faces in photographic stills is a mechanism of visualisation that humanises a tragedy in which physical bodies (their death, their mutilation) cannot be seen. Other people who saw photographic stills from other angles and degrees of proximity were quick to highlight the presence of angels in the smoke, as captured by WABC from a perspective entirely different from that in Figure 2 (instead, see Figure 3). In either scenario, photography allows the visual personification of redemptive or evil influences, as well as the ability to visualise the tragedy not just as the isolated destruction of an architectural marvel, but as a crime against humanity with cosmic importance. Sharing the Fall: Desperation and the Photographing of Falling Bodies Perhaps what became even more troubling than the imagistic conjuring of human forms within the smoke was the photographing of bodies falling from the upper floors of the North Tower (see Figure 5). Though newspapers (re-)published photographs of the debris and hysteria of the attacks and television networks (re-)broadcast video sequences of the planes’ crashing into the towers and their collapse, the pictures of people jumping from the building were rarely circulated by the media. Dennis Cauchon and Martha T. Moore characterised these consequences of the terrorist attacks as “the most sensitive aspect of the Sept. 11 tragedy … [that] shocked the nation” (Cauchon and Moore). A delicate balance certainly existed between the media’s desire to associate faces with the feelings of desperation we know those who died must have experienced and a now-numb general public who ascribed to the photographs an unequivocal “too-muchness.” To read about those who jumped to escape smoke and flames reveals a horrific and frightfully swift narrative of panic: For those who jumped, the fall lasted 10 seconds. They struck the ground at just less than 150 miles per hour – not fast enough to cause unconsciousness while falling, but fast enough to ensure instant death on impact. People jumped from all four sides of the north tower. They jumped alone, in pairs and in groups. (Cauchon and Moore) The text contextualises these leaps to death in terms that are understandable to survivors who read the story and later discover these descriptions can never approximate the trauma of “being there”: Why did they jump? How fast were they travelling? Did they feel anything when their bodies hit the ground? Were they conscious during their jump? Did they die alone? These questions and their answers put into motion the very moment that the photograph of the jumping man has frozen. Words act as extensions of the physical boundaries of the photograph and underscore the horror of that image, from the description of the conditions that prompted the jump to the pondering of the death that was its consequence. If, as Jonathan Crary’s analysis of photographic viewing might intimate, visualisation prompts both an “autonomy of vision” and a “standardisation and regulation of the observer” (Crary 150), the photograph of a man plummeting to his death fashions the viewer’s eye as autonomous and alive because the image he/she views is the undeniable representation of a now-deceased Other. Yet, as seen in the often-hysterical responses to the threats of terrorism in the days following September 11, this “Other” embodies the very possibility of our own demise. Suddenly, the man we see in mid-air becomes the visualised “Every(wo)man” whose photographic representation also represents our unacknowledged vulnerabilities. Thus, trauma is shared through a poignant visual negotiation of dying: the certainty of the photographed man’s death juxtaposed with the newly realised or conjured threat of the viewer’s own death. In terms of humanness, those who witnessed these falls firsthand recall the ways in which the falling people became objectified – their fall seemingly robbing them of any visible sense of humanity. Eric Thompson, an employee on the seventy-seventh floor of the South Tower, shared an instantaneous moment with one of the victims: Thompson looked the man in the face. He saw his tie flapping in the wind. He watched the man’s body strike the pavement below. “There was no human resemblance whatsoever,” Thompson says. (Cauchon and Moore) Obviously, the in-situ experience of viewing these individuals hopelessly jumping to their deaths served as the prompt to run away, to escape, but the photograph acts as the frozen-in-time re-visitation and sharing of – a turning back toward – this scenario. The act of viewing the photographs reinstates the humanness that the panic of the moment seemingly removed; yet, the disparity between the photograph’s foreground (the jumping man) and its background (the building’s façade) remains its greatest disconcerting element. Unlike those photographic portraits that script behaviours and capture us in our most presentable states of being, this photograph reveals the unwilling subject – he who has not consented to share his state of being with the camera. Though W.J.T. Mitchell suggests that “[p]hotographs…seem necessarily incomplete in their imposition of a frame that can never include everything that was there to be…‘taken’” (Mitchell 289), the eye in times of catastrophe shifts between its desire to maintain the frame (that does not visually engage the inferno from which the man jumped or the concrete upon which he died) and its inability to do so. This photograph, as Mitchell might assert, “speaks” because visualisation allows its total frame of reference to extend beyond its physical boundaries and, as evidenced by post-September 11 phobias and our responses to horrific images, to affect the very means by which catastrophe is imagined and visualised. Technically speaking, the negotiated balance between foreground and background in the photograph is lost: the desperation of the falling man juxtaposed with a seemingly impossible background that should not have been there. Lost, too, is the viewer’s ability to “connect” visually with – literally, to share – that experience, to see oneself within the contexts of that particular visual representation. This inability to see the viewing self in the photograph is an ironic moment of experiential possibility that lingers still in the Western world’s fears surrounding terrorism: when the supposedly impossible act is finally visualised, territorialised, and rendered as possible. Dead Art: The Destructions and Resurrections of Works by Rodin In many ways, the photographing of those experiences so divorced from our own contributed to intense discussions of perspective in visualisation: the viewer’s witnessing of trauma by means of a camera and photographer that captured the image from a “safe” distance. However, the recovery of artwork that actually suffered damage as a result of the World Trade Centre collapse prompted many art historians and theorists to ponder the possibilities of art’s death and to contemplate the fate of art that is physically victimised. In an anticipatory vein, J.M. Bernstein suggests that “art ends as it becomes progressively further distanced from truth and moral goodness, as it loses its capacity to speak the truth about our most fundamental categorical engagements…” (Bernstein 5). If Bernstein’s theory is applied to those works damaged at the World Trade Centre site, the sculptures of Rodin, so famously photographed in the weeks of excavation that followed September 11, could be categorised as “dead” – distanced from the “truth” of human form that Rodin cast, even further from the moral goodness and the striving toward global peace that the Cantor Fitzgerald collection aimed to embrace. While many art critics believed that the destroyed works should not be displayed again, many (including Fritz Koenig, who designed The Sphere, which was damaged in the terrorist attacks) believe that such “dead art” deserves, even requires, resuscitation (see Figure 6). Much like the American flags that survived the infernos at the World Trade Centre and Pentagon site, these lost and re-discovered artworks have served as rallying points to accomplish both the sharing of trauma and an artistically inspired foundation for the re-development of the lower Manhattan site. In the case of Rodin’s The Thinker, which was recovered at the site and later presumed stolen, the statue’s discovery alongside aircraft parts and twisted steel girders served as a unique and rare survival story, almost as the surrogate representative body for those human bodies that were never found, never seen. Dan Barry and William K. Rashbaum recall that in the days following the sculpture’s disappearance, “investigators have been at Fresh Kills [landfill] and at ground zero in recent weeks, flashing a photograph of ‘The Thinker’ and asking, in effect: Have you seen this symbol of humanity” (Barry and Rashbaum)? Given such symbolic weight, sculpture most certainly took on superhuman proportions. Yet, in the days that followed the discovery of artwork that survived the attacks, only passing references were made to those figurative paintings and drawings by Picasso, Hockney, Lichtenstein, and Miró that were lost – perhaps because their subject matter or manner of artistic representation did not (or could not) reflect a “true” infliction of damage and pain the way a three-dimensional, human-like sculpture could. Viewers visualised not only the possibility of their own cultural undoing by seeing damaged Rodins, but also the embodiment of unseen victims’ bodies that could not be recovered. In a rousing speech about September 11 as an attack upon the humanities and the production of culture, Bruce Cole stated that “the loss of artifacts and art, no matter how priceless and precious, is dwarfed by the loss of life” (Cole). Nevertheless, the visualisation of maimed, disfigured art was the lens through which many individuals understood the immensity of that loss of life and the finality of their loved ones’ disappearances. What the destruction and damaging of artwork on September 11 created was an atmosphere in which art, traditionally conjured as the studied and inanimate subject, transformed from a determined to a determining influence, a re-working of Paul Smith’s theory in which “the ‘subject’ … is determined – the object of determinant forces; whereas ‘the individual’ is assumed to be determining” (Smith xxxiv). Damaged sculptures gave representative form to the thousands of victims we, as a visualising public, knew were inside the towers, but their survival spoke to larger artistic issues: the impossibility of art’s end and the foiling of its death. Baudrillard’s notion of the “impossibility of ending” demonstrates that the destruction of art (in the capitalistic sense that is contingent on its undamaged condition and its prescribed worth and “value”) does not equate to the destruction of meaning as such, but that the new and re-negotiated meanings deployed by injured art frighteningly implicate us – viewers who once assigned meaning becoming the subjects who long to be assigned something, anything, be it solace, closure, or retribution. Importantly, the latest plans for the re-vitalised World Trade Centre site indicate that the damaged Rodin and Koenig sculptures will semiotically mediate the significations established when the original World Trade Centre was a vital nexus of activity in lower Manhattan, the shock and pain experienced when the towers collapsed and individuals were searching for meaning in art’s destruction and survival, and the hope many have invested in the new buildings and their role in the maintenance and recovery of memory. A Concluding Thought Digital manipulation, photography, and the re-contextualisation of artistic “masterpieces” from their hermetic placement in the gallery to their brutal dumping in a landfill have served as the humanistic prompts that actively determined the ways in which culture grappled with and shared unimaginable horror. Images have transformed in purpose from static re(-)presentations of reality to active, changing conduits by which pasts can be remembered, by which the intangibility of death can be given substance, by which unshared moments can be more intimately considered. Oddly, visualisation has performed simultaneously two disparate functions: separating the living from the dead through a panoply of re-affirming visual experiences and permitting the re-visitation of those times, events, and people that the human eye could not see itself. Ultimately, what the manipulations, misinterpretations, and destructions of art show us is that the conveyance of meaning between individuals, whether dead or alive, whether seen or unseen, is the image’s most pressing and difficult charge. Works Cited “Angel or Devil? Viewers See Images in Smoke.” Click on Detroit. 17 Sep. 2001. 10 February 2003 <http://www.clickondetroit.com/sh/news/stories/nat-news-96283920010917-120936.php>. Barry, Dan, and William K. Rashbaum. “Rodin Work from Trade Center Survived, and Vanished.” New York Times. 20 May 2002: B1. Barthes, Roland. Image, Music, Text. New York: Hill and Wang, 1977. Baudrillard, Jean. The Illusion of the End. Cambridge: Polity Press, 1994. Bernstein, J.M. The Fate of Art: Aesthetic Alienation from Kant to Derrida and Adorno. Cambridge: Polity Press, 1992. Burgin, Victor. The End of Art Theory: Criticism and Post-Modernity. Atlantic Highlands, N.J.: Humanities Press, 1986. Cauchon, Dennis and Martha T. Moore. “Desperation Drove Sept. 11 Victims Out World Trade Center Windows.” Salt Lake Tribune Online. 4 September 2002. 19 Jan. 2003 <http://www.sltrib.com/2002/sep/09042002/nation_w/768120.htm>. Crary, Jonathan. Techniques of the Observer: On Vision and Modernity in the Nineteenth Century. Cambridge: MIT Press, 1990. Mitchell, W.J.T. Picture Theory. Chicago: University of Chicago P, 1994. “Remains of a Day.” Time 160.11 (9 Sep. 2002): 58. Smith, Paul. Discerning the Subject. Minneapolis: U of Minnesota P, 1988. “The Accidental Tourist.” Urban Legends. 20 Nov. 2001. 21 Feb. 2003 <http://www.snopes2.com/rumors/crash.htm>. Links http://www.clickondetroit.com/sh/news/stories/nat-news-96283920010917-120936.html http://www.sltrib.com/2002/sep/09042002/nation_w/768120.htm http://www.snopes2.com/rumors/crash.htm Citation reference for this article Substitute your date of access for Dn Month Year etc... MLA Style Smith, Royce W.. "The Image Is Dying" M/C: A Journal of Media and Culture< http://www.media-culture.org.au/0304/09-imageisdying.php>. APA Style Smith, R. W. (2003, Apr 23). The Image Is Dying. M/C: A Journal of Media and Culture, 6,< http://www.media-culture.org.au/0304/09-imageisdying.php>

Presently, the process of retrieving the historical documents is treated as an important challenge due to the fact that the document possessesindividual structure and level of deprivation. The textual characters present in the printouts come together with the typographical objects. The retrieval and perusal of the visual typographical objects indicates that the content of heritage documents helps to effectively interpret the documents. The extraction of the visual objects finds useful in the interpretation and conveyance of more details regarding diverse practices of demonstration in past documents and the impact in the present status of publication. A pair of essential typographical objects linked to the history of knowledge and information is footnotes and tables. In this paper, the main intention is the detection of the existence of the visual elements from historical printable documents. A new Olex-GA based footnote recognition model (OFR) is developed. The footnote detection model make use of a collection of layout-based models for the extraction of few features concerning to the font and appearance. In addition, Olex-GA algorithm is for the classification purposes. This model is validated using a massive set of 18thcentury printed documents with higher than 32 million images, and the outcome showed their effective outcome of the presented model.

Multimedia is a modern way of communication where lots of images and videos are been transmitted over the wireless sensor network, hence managing the transmission of these records plays an important role when it comes to speed in which the multimedia transferred. In this paper compression technique and bandwidth utilization method is used for the efficient data transmission. Using this one can minimize the bandwidth utilization by compressing the video to the best format where packet won’t be lost and complete packet will be transferred to the destination node. Remote sensor systems is a developing class of exceptionally powerful, complex system condition over which a wide scope of uses, for example, living space observing, object following, exactness farming, building checking and military frameworks are assembled. [1]The ongoing applications frequently produce earnest information and one-time occasion notices that should be conveyed dependably. The fruitful conveyance of such data directly affects the general execution of the framework. Solid correspondence is significant for sensor systems. In WSN’s for viable transmission of still pictures, sound, and video data implements thorough necessities on the vitality utilization and throughput. [2] It is given in this to examine the presentation of steering traffic for interactive media traffic in WSN for multi jump nodes from the sink.

Quantifying the ability of a digital design concept to perform a function currently requires the use of costly and intensive solutions such as computational fluid dynamics. To mitigate these challenges, the authors of this work propose a deep learning approach based on three-dimensional (3D) convolutions that predict functional quantities of digital design concepts. This work defines the term functional quantity to mean a quantitative measure of an artifact's ability to perform a function. Several research questions are derived from this work: (i) Are learned 3D convolutions able to accurately calculate these quantities, as measured by rank, magnitude, and accuracy? (ii) What do the latent features (that is, internal values in the model) discovered by this network mean? (iii) Does this work perform better than other deep learning approaches at calculating functional quantities? In the case study, a proposed network design is tested for its ability to predict several functions (sitting, storing liquid, emitting sound, displaying images, and providing conveyance) based on test form classes distinct from training class. This study evaluates several approaches to this problem based on a common architecture, with the best approach achieving F scores of >0.9 in three of the five functions identified. Testing trained models on novel input also yields accuracy as high as 98% for estimating rank of these functional quantities. This method is also employed to differentiate between decorative and functional headwear, which yields an 84.4% accuracy and 0.786 precision.

In the Nile Delta region of Egypt, measurements of Actual Evapotranspiration (ETa) and Potential Evapotranspiration (ETp) are difficult, expensive and labor-intensive. The current paper aimed at finding the superior method for estimating the ETa and ETa/ETp in the Nile Delta governorates by comparing different methods. Three different methods were used for ETa estimates being; Remote Sensing approach by Moderate Resolution Imaging Spectroradiometer (MODIS) ETa-product (MOD16A2), FAO (33) method, and Irrigation Water Balance Calculation (IWBC) method. The three ETa methods were applied for five governorates in 2017, where the data for IWBC were available. However, only MOD16A2 was compared with FAO (33) for ETa/ETp ratio and the two selected methods were applied for all eight Nile Delta governorates for the period of 2008 -2017. The MOD16A2 product was derived from the MODIS satellite images using an improved evapotranspiration algorithm based on the Penman-Monteith equation. FAO (33) was based on the relationship between the relative yield loss of any crop to relative reduction of water consumption. The IWBC required estimation of both; the field application and conveyance water losses as the only unknown elements of irrigation water balance in Delta governorates. For comparison between applied methods, descriptive statistics, analysis of variance (ANOVA) for checking difference, and cluster analysis were applied. The results showed a significant difference values between MOD16A2 and FAO (33) for estimating ETa/ETp ratios. However, the difference for ETa estimation was insignificant between the three methods indicating a significant relationship, with a strong correlation between MOD16A2 and IWBC. It was observed that ETa values were impacted by the cropping pattern, since they were very close in governorates having the same dominant crops. In conclusion, both MOD16A2 and IWBC can be utilized for ETa estimation. Both MOD16A2 and FAO (33) are not confirmed for estimation of ETa/ETp ratio due to the significant difference between both results. FAO (33) cannot be utilized for both ETa and ETa/ETp ratio estimates. Further data collection and investigation on ETa and ETp estimates methods are recommended.

Stormwater management design makes up half of a fourth year undergraduate course that also includes design of water distribution systems and wastewater and stormwater collection systems. Learning is supported by lectures with PowerPoint presentations that include many images. Early emphasis is placed on understanding the effects of urbanization, in terms of hydrology, geomorphology, water quality and stream ecology. This leads to the objectives of stormwater management and discussion of both traditional and emerging design criteria, as well as provincial guidelines and municipal standards. The students gain an appreciation of the need for a ‘treatment train’ approach – prevention followed by lot-level, conveyance, and if necessary, end-of-pipe measures – to achieve the multiple objectives of stormwater management. Students master screening-level design that addresses land use, physical feasibility, climate, watershed opportunities and constraints, community factors, and the capability for various stormwater management practices (SWMPs) to meet various water quantity and quality objectives. Details and design examples for a range of SWMPs such as infiltration trenches, biofiltration swales, and extended detention wet ponds are presented, and a field trip reinforces the in-class information. The students gain design experience by means of a term project in which four person teams design the water-related infrastructure of a new subdivision. A Terms of Reference is provided at the beginning of the term. The design teams are responsible for a proposal, which initiates early project management, an oral progress report, and a final design report and presentation. Design labs provide an opportunity to introduce students to the software (EPA SWMM 5.0) but are primarily devoted to working on the design project. The design project is evaluated in terms of product and process, and both group and individual marks are assigned. Designs are evaluated prior to the final presentations enabling the instructor to provide substantive feedback before the course concludes. For the most part, the quality of work done by the students over the last several years has been exceptional. During the course, common feedback from the students includes “lack of direction” and “heavy work load.” Following the course, students appreciate the understanding of the subject material and the design experience gained, which they find to be very relevant to employment opportunities.

Are male porn stars full-fledged citizens? Recent political developments make this question more than rhetorical. The Bush Justice Department, led by Attorney General John Ashcroft, has targeted the porn industry, beginning with its prosecution of Extreme Associates. More recently, the President requested an increase in the FBI’s 2005 budget for prosecuting obscenity, one of the few budget increases for the Bureau outside of its anti-terrorism program (Schmitt A1). To be sure, the concept of “citizen” is itself vexed. Citizenship, when obtained or granted, ostensibly legitimates a subject and opens up pathways to privilege: social, political, economic, etc. Yet all citizens do not seem to be created equal. “There is, in the operation of state-defined rules and in common practices an assumption of moral worth in which de facto as opposed to de jure rights of citizenship are defined as open to those who are deserving or who are capable of acting responsibly,” asserts feminist critic Linda McDowell. “The less deserving and the less responsible are defined as unworthy of or unfitted for the privileges of full citizenship” (150). Under this rubric, a citizen must measure up to a standard of “moral worth”—an individual is not a full-fledged citizen merely on the basis of birth or geographical placement. As McDowell concludes, “citizenship is not an inclusive but an exclusive concept” (150). Thus, in figuring out how male porn stars stand in regard to the question of citizenship, we must ask who determines “moral worth,” who distinguishes the less from the more deserving, and how people have come to agree on the “common practices” of citizenship. Many critics writing about citizenship, including McDowell, Michael Warner, Lauren Berlant, Russ Castronovo, Robyn Wiegman, Michael Moon, and Cathy Davidson (to name only a few) have located the nexus of “moral worth” in the body. In particular, the ability to make the body abstract, invisible, and non-identifiable has been the most desirable quality for a citizen to possess. White men seem ideally situated for such acts of “decorporealization,” and the white male body has been installed as the norm for citizenship. Conversely, women, people of color, and the ill and disabled, groups that are frequently defined by their very embodiment, find themselves more often subject to regulation. If the white male body is the standard, however, for “moral worth,” the white male porn star would seem to disrupt such calculations. Clearly, the profession demands that these men put their bodies very much in evidence, and the most famous porn stars, like John C. Holmes and Ron Jeremy, derive much of their popularity from their bodily excess. Jeremy’s struggle for “legitimacy,” and the tenuous position of men in the porn industry in general, demonstrate that even white males, when they cannot or will not aspire to abstraction and invisibility, will lose the privileges of citizenship. The right’s attack on pornography can thus be seen as yet another attempt to regulate and restrict citizenship, an effort that forces Jeremy and the industry that made him famous struggle for strategies of invisibility that will permit some mainstream acceptance. In American Anatomies, Robyn Wiegman points out that the idea of democratic citizenship rested on a distinct sense of the abstract and non-particular. The more “particular” an individual was, however, the less likely s/he could pass into the realm of citizen. “For those trapped by the discipline of the particular (women, slaves, the poor),” Wiegman writes, “the unmarked and universalized particularity of the white masculine prohibited their entrance into the abstraction of personhood that democratic equality supposedly entailed” (49). The norm of the “white masculine” caused others to signify “an incontrovertible difference” (49), so people who were visibly different (or perceived as visibly different) could be tyrannized over and regulated to ensure the purity of the norm. Like Wiegman, Lauren Berlant has written extensively about the ways in which the nation recognizes only one “official” body: “The white, male body is the relay to legitimation, but even more than that, the power to suppress that body, to cover its tracks and its traces, is the sign of real authority, according to constitutional fashion” (113). Berlant notes that “problem citizens”—most notably women of color—struggle with the problem of “surplus embodiment.” They cannot easily suppress their bodies, so they are subjected to the regulatory power of a law that defines them and consequently opens their bodies up to violation. To escape their “surplus embodiment,” those who can seek abstraction and invisibility because “sometimes a person doesn’t want to seek the dignity of an always-already-violated body, and wants to cast hers off, either for nothingness, or in a trade for some other, better model” (114). The question of “surplus embodiment” certainly has resonance for male porn stars. Peter Lehman has argued that hardcore pornography relies on images of large penises as signifiers of strength and virility. “The genre cannot tolerate a small, unerect penis,” Lehman asserts, “because the sight of the organ must convey the symbolic weight of the phallus” (175). The “power” of male porn stars derives from their visibility, from “meat shots” and “money shots.” Far from being abstract, decorporealized “persons,” male porn stars are fully embodied. In fact, the more “surplus embodiment” they possess, the more famous they become. Yet the very display that makes white male porn stars famous also seemingly disqualifies them from the “legitimacy” afforded the white male body. In the industry itself, male stars are losing authority to the “box-cover girls” who sell the product. One’s “surplus embodiment” might be a necessity for working in the industry, but, as Susan Faludi notes, “by choosing an erection as the proof of male utility, the male performer has hung his usefulness, as porn actor Jonathan Morgan observed, on ‘the one muscle on our body we can’t flex’” (547). When that muscle doesn’t work, a male porn star doesn’t become an abstraction—he becomes “other,” a joke, swept aside and deemed useless. Documentary filmmaker Scott J. Gill recognizes the tenuousness of the “citizenship” of male porn stars in his treatment of Ron Jeremy, “America’s most famous porn star.” The film, Porn Star: The Legend of Ron Jeremy (2001), opens with a clear acknowledgment of Jeremy’s body, as one voiceover explains how his nickname, “the Hedgehog,” derives from the fact that Jeremy is “small, fat, and very hairy.” Then, Gill intercuts the comments of various Jeremy fans: “An idol to an entire generation,” one young man opines; “One of the greatest men this country has ever seen,” suggests another. This opening scene concludes with an image of Jeremy, smirking and dressed in a warm-up suit with a large dollar sign necklace, standing in front of an American flag (an image repeated at the end of the film). This opening few minutes posit the Hedgehog as super-citizen, embraced as few Americans are. “Everyone wants to be Ron Jeremy,” another young fan proclaims. “They want his life.” Gill also juxtaposes “constitutional” forms of legitimacy that seemingly celebrate Jeremy’s bodily excess with the resultant discrimination that body actually engenders. In one clip, Jeremy exposes himself to comedian Rodney Dangerfield, who then sardonically comments, “All men are created equal—what bullshit!” Later, Gill employs a clip of a film in which Jeremy is dressed like Ben Franklin while in a voiceover porn director/historian Bill Margold notes that the Freeman decision “gave a birth certificate to a bastard industry—it legitimized us.” The juxtaposition thus posits Jeremy as a “founding father” of sorts, the most recognizable participant in an industry now going mainstream. Gill, however, emphasizes the double-edged nature of Jeremy’s fame and the price of his display. Immediately after the plaudits of the opening sequence, Gill includes clips from various Jeremy talk show appearances in which he is denounced as “scum” and told “You should go to jail just for all the things that you’ve helped make worse in this country” and “You should be shot.” Gill also shows a clearly dazed Jeremy in close-up confessing, “I hate myself. I want to find a knife and slit my wrists.” Though Jeremy does not seem serious, this comment comes into better focus as the film unfolds. Jeremy’s efforts to go “legit,” to break into mainstream film and leave his porn life behind, keep going off the tracks. In the meantime, Jeremy must fulfill his obligations to his current profession, including getting a monthly HIV test. “There’ll be one good thing about eventually getting out of the porn business,” he confesses as Gill shows scenes of a clearly nervous Jeremy awaiting results in a clinic waiting room, “to be able to stop taking these things every fucking month.” Gill shows that the life so many others would love to have requires an abuse of the body that fans never see. Jeremy is seeking to cast off that life, “either for nothingness, or in a trade for some other, better model.” Behind this “legend” is unseen pain and longing. Gill emphasizes the dichotomy between Jeremy (illegitimate) and “citizens” in his own designations. Adam Rifkin, director of Detroit Rock City, in which Jeremy has a small part, and Troy Duffy, another Jeremy pal, are referred to as “mainstream film directors.” When Jeremy returns to his home in Queens to visit his father, Arnold Hyatt is designated “physicist.” In fact, Jeremy’s father forbids his son from using the family name in his porn career. “I don’t want any confusion between myself and his line of work,” Hyatt confesses, “because I’m retired.” Denied his patronym, Jeremy is truly “illegitimate.” Despite his father’s understanding and support, Jeremy is on his own in the business he has chosen. Jeremy’s reputation also gets in the way of his mainstream dreams. “Sometimes all this fame can hurt you,” Jeremy himself notes. Rifkin admits that “People recognize Ron as a porn actor and immediately will ask me to remove him from the final cut.” Duffy concurs that Jeremy’s porn career has made him a pariah for some mainstream producers: “Stigma attached to him, and that’s all anybody’s ever gonna see.” Jeremy’s visibility, the “stigma” that people have “seen,” namely, his large penis and fat, hairy body, denies him the abstract personhood he needs to go “legitimate.” Thus, whether through the concerted efforts of the Justice Department or the informal, personal angst of a producer fearing a backlash against a film, Jeremy, as a representative of an immoral industry, finds himself subject to regulation. Indeed, as his “legitimate” filmography indicates, Jeremy has been cut out of more than half the films he has appeared in. The issue of “visibility” as the basis for regulation of hardcore pornography has its clearest articulation in Potter Stewart’s famous proclamation “I know it when I see it.” But as Bob Woodward and Scott Armstrong report in The Brethren, Stewart was not the only Justice who used visibility as a standard. Byron White’s personal definition was “no erect penises, no intercourse, no oral or anal sodomy” (193). William Brennan, too, had what his clerks called “the limp dick standard” (194). Erection, what Lehman has identified as the conveyance of the phallus, now became the point of departure for regulation, transferring, once again, the phallus to the “law.” When such governmental regulation failed First Amendment ratification, other forms of societal regulation kicked in. The porn industry has accommodated itself to this regulation, as Faludi observes, in its emphasis on “soft” versions of product for distribution to “legitimate” outlets like cable and hotels. “The version recut for TV would have to be entirely ‘soft,’” Faludi notes, “which meant, among other things, no erect penises and no semen” (547). The work of competent “woodsmen” like Jeremy now had to be made invisible to pass muster. Thus, even the penis could be conveyed to the viewer, a “fantasy penis,” as Katherine Frank has called it, that can be made to correlate to that viewer’s “fantasized identity” of himself (133-4). At the beginning of Porn Star, during the various homages paid to Jeremy, one fan draws a curious comparison: “There’s Elvis, and then there’s Ron.” Elvis’s early career had certainly been plagued by criticism related to his bodily excess. Musicologist Robert Fink has recently compared Presley’s July 2, 1956, recording of “Hound Dog” to music for strip tease, suggesting that Elvis used such subtle variations to challenge the law that was constantly impinging on his performances: “The Gray Lady was sensitive to the presence of quite traditional musical erotics—formal devices that cued the performer and audience to experience their bodies sexually—but not quite hep enough to accept a male performer recycling these musical signifiers of sex back to a female audience” (99). Eventually, though, Elvis stopped rebelling and sought respectability. Writing to President Nixon on December 21, 1970, Presley offered his services to help combat what he perceived to be a growing cultural insurgency. “The drug culture, the hippie elements, the SDS, Black Panthers, etc., do not consider me as their enemy or as they call it, The Establishment,” Presley confided. “I call it America and I love it” (Carroll 266). In short, Elvis wanted to use his icon status to help reinstate law and order, in the process demonstrating his own patriotism, his value and worth as a citizen. At the end of Porn Star, Jeremy, too, craves legitimacy. Whereas Elvis appealed to Nixon, Jeremy concludes by appealing to Steven Spielberg. Elvis received a badge from Nixon designating him as “special assistant” for the Bureau of Narcotics and Dangerous Drugs. Presumably Jeremy invests his legitimacy in a SAG card. Kenny Dollar, a Jeremy friend, unironically summarizes the final step the Hedgehog must take: “It’s time for Ron to go on and reach his full potential. Let him retire his dick.” That Jeremy must do the latter before having a chance for the former illustrates how “surplus embodiment” and “citizenship” remain inextricably entangled and mutually exclusive. References Berlant, Lauren. “National Brands/National Body: Imitation of Life.” Comparative American Identities: Race, Sex and Nationality in the Modern Text. Ed. Hortense Spillers. New York: Routledge, 1991: 110-140. Carroll, Andrew, ed. Letters of a Nation: A Collection of Extraordinary American Letters. New York: Broadway Books, 1999. Castronovo, Russ and Nelson, Dana D., eds. Materializing Democracy: Toward a Revitalized Cultural Politics. Durham: Duke University Press, 2002. Faludi, Susan. Stiffed: The Betrayal of the American Man. New York: William Morrow and Company, Inc., 1999. Fink, Robert. “Elvis Everywhere: Musicology and Popular Music Studies at the Twilight of the Canon.” Rock Over the Edge: Transformations in Popular Music Culture. Eds. Roger Beebe, Denise Fulbrook, and Ben Saunders. Durham: Duke University Press, 2002: 60-109. Frank, Katherine. G-Strings and Sympathy: Strip Club Regulars and Male Desire. Durham: Duke University Press, 2002. Gill, Scott J., dir. Porn Star: The Legend of Ron Jeremy. New Video Group, 2001. Lehman, Peter. Running Scared: Masculinity and the Representation of the Male Body. Philadelphia: Temple University Press, 1993. McDowell, Linda. Gender, Identity and Place: Understanding Feminist Geographies. Minneapolis: University of Minnesota Press, 1999. Moon, Michael and Davidson, Cathy N., eds. Subjects and Citizens: From Oroonoko to Anita Hill. Durham: Duke University Press, 1995. Schmitt, Richard B. “U. S. Plans to Escalate Porn Fight.” The Los Angeles Times 14 February 2004. A1. Wiegman, Robyn. American Anatomies: Theorizing Race and Gender. Durham: Duke University Press, 1995. Woodward, Bob and Armstrong, Scott. The Brethren: Inside the Supreme Court. New York: Simon and Schuster, 1979. MLA Style Russell, David. "The Tumescent Citizen: The Legend of Ron Jeremy." M/C Journal 7.4 (2004). 10 October 2004 <http://www.media-culture.org.au/0410/01_citizen.php>. APA Style Russell, D. (2004 Oct 11). The Tumescent Citizen: The Legend of Ron Jeremy, M/C Journal, 7(4). Retrieved Oct 10 2004 from <http://www.media-culture.org.au/0410/01_citizen.php>