Relevant bibliographies by topics / Visual abstraction

Academic literature on the topic 'Visual abstraction'

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Published: 4 June 2021
Last updated: 28 January 2023

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Journal articles on the topic "Visual abstraction"

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Skaggs, Steven. "The visual gamut and syntactic abstraction." Semiotica 2022, no. 244 (January 1, 2022): 1–25. http://dx.doi.org/10.1515/sem-2020-0076.

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Abstract Charles S. Peirce’s second trichotomy, which introduces the concepts of iconicity, indexicality, and symbolicity, is probably the only piece of his semiotic that is familiar to visual artists and designers. Although the concepts have found their way into the academy, their utility in the field has been reduced for a couple of reasons. First, as with all of Peirce’s philosophy, his second trichotomy is a concept that is subtle, fluid, and difficult to fully grasp in a sound bite. Second, there has simply been no bridge concept that would form a working connection between that philosophy in its logical guise and the studio practice in the visual arts. The purpose of this article is to remedy that situation by investigating the subtle ways the second trichotomy functions within the visual sphere, and to then suggest a model that can serve to bridge the divide between pure theory and practice. The article makes four main points: first, using examples from visual identity and the graphic arts, it demonstrates how the modes of icon, index, and symbol tend to be blended; second, examples from fine art are used to illustrate how the concept of abstraction, as used in the art world, can only be partially accounted for within the second trichotomy, but can be modeled by supplying a syntactical supplement; third, it expands on and elaborates a previously sketched model, the visual gamut, which makes it possible to classify visual entities according to their position within a map of semantic and syntactic space; finally, it concludes by suggesting ways this enhanced version of the visual gamut model might be used in the analysis of, or creation of, art and design, presenting suggestions for further study.
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Isenberg, Tobias. "Visual Abstraction and Stylisation of Maps." Cartographic Journal 50, no. 1 (February 2013): 8–18. http://dx.doi.org/10.1179/1743277412y.0000000007.

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Sacha, D., F. Al‐Masoudi, M. Stein, T. Schreck, D. A. Keim, G. Andrienko, and H. Janetzko. "Dynamic Visual Abstraction of Soccer Movement." Computer Graphics Forum 36, no. 3 (June 2017): 305–15. http://dx.doi.org/10.1111/cgf.13189.

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Murphy, Kaitlin M. "Against Precarious Abstraction." Latin American and Latinx Visual Culture 1, no. 1 (January 1, 2019): 7–22. http://dx.doi.org/10.1525/lavc.2019.000003.

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Through analysis of Mexican photojournalist Moysés Zúñiga Santiago’s (b. 1979) series La Bestia (The Beast, ca. 2011–16), this article examines the potential for photographs to challenge how certain bodies enter into visual circulation—the moment at which, and how, they are “allowed” to become seen. Zúñiga’s photographs challenge visual economies that depict migrants as faceless laborers or criminals, and reframe contemporary immigration as a labor of everyday survival. The author reads the photographs alongside other contemporaneous visual culture texts about immigration and the US-Mexico border, and in the context of a dearth of images that document the actual process of Latinx migration toward the United States. Grounded in this analysis, the article argues that the work of the photojournalist is to document and transmit the magnitude of the atrocity in a manner that foments new ways of witnessing contemporary migration. The fundamental question thus becomes: Is it possible (and if so, how) to visually create conditions for viewers to more effectively bear witness to contemporary migration? Furthermore, how does this impact our understanding of what it means to bear witness? RESUMEN A través del análisis de la serie “La Bestia” del fotoperiodista mexicano Moysés Zúñiga Santiago, este artículo examina el potencial de las fotografías para cuestionar cómo ciertos cuerpos entran en circulación visual (cuándo y cómo se permite que se vean) y crean las condiciones para que el público dé testimonio de manera más efectiva de la migración contemporánea como esfuerzo por sobrevivir. Al leer las fotografías de Zúñiga junto a la cultura visual contemporánea sobre la inmigración y la frontera entre Estados Unidos y México, y en el contexto de una clara escasez de imágenes que documentan el proceso actual de la migración de Latinxs hacia Estados Unidos, el autor analiza cómo las fotografías de Zúñiga desafían las economías visuales que representan a los migrantes como trabajadores anónimos o delincuentes y replantean la inmigración contemporánea como un esfuerzo diario por sobrevivir. Basado en el análisis de la serie “La Bestia” de Zúñiga, el autor argumenta que el trabajo del fotoperiodista es documentar y transmitir efectivamente la magnitud de la atrocidad de tal manera que fomente nuevas formas de presenciar la migración contemporánea. La pregunta fundamental es: ¿es posible (y, si es así, de qué manera) crear visualmente las condiciones para que el público dé testimonio de la migración contemporánea de manera más efectiva? Además, ¿cómo afecta esto nuestra forma de entender lo que significa dar testimonio? RESUMO Através de análise da série “La Bestia” (A Besta, circa 2011-2016) do fotojornalista Moysés Zúñiga Santiago (n. 1979), este artigo examina o potencial de fotografias para desafiar como certos corpos entram em circulação visual – o momento quando, e como, “permite-se” que se tornem vistos. As fotografias de Zúñiga desafiam economias visuais que retratam migrantes como trabalhadores sem face ou criminosos e reenquadra a imigração contemporânea como um trabalho de sobrevivência cotidiano. O autor lê as fotografias de Zúñiga em relação à cultura visual contemporânea sobre imigração e a fronteira EUA-México, e no contexto de uma escassez de imagens que documentam o real processo da migração latinx em direção aos Estados Unidos. Fundamentado nesta análise, o artigo argumenta que o trabalho do fotojornalista é documentar e transmitir a magnitude da atrocidade de tal maneira a fomentar novas maneiras de testemunhar a migração contemporânea. A questão fundamental, portanto, se torna a seguinte: é possível (e se sim, como) criar visualmente as condições para espectadores testemunharem mais efetivamente a migração contemporânea? Ademais, como isso impacta nosso entendimento do que significa testemunhar?
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Overy, Paul. "PURE ABSTRACTION." Art History 16, no. 1 (March 1993): 190–95. http://dx.doi.org/10.1111/j.1467-8365.1993.tb00520.x.

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Burnett, Margaret M., and Allen L. Ambler. "Interactive Visual Data Abstraction in a Declarative Visual Programming Language." Journal of Visual Languages & Computing 5, no. 1 (March 1994): 29–60. http://dx.doi.org/10.1006/jvlc.1994.1003.

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Liao, Hongsen, Yingcai Wu, Li Chen, and Wei Chen. "Cluster-Based Visual Abstraction for Multivariate Scatterplots." IEEE Transactions on Visualization and Computer Graphics 24, no. 9 (September 1, 2018): 2531–45. http://dx.doi.org/10.1109/tvcg.2017.2754480.

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Saitta, Lorenza, and Jean-Daniel Zucker. "A model of abstraction in visual perception." Applied Artificial Intelligence 15, no. 8 (September 2001): 761–76. http://dx.doi.org/10.1080/088395101317018591.

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Zheng, Qi, Chao-Yue Wang, Dadong Wang, and Da-Cheng Tao. "Visual Superordinate Abstraction for Robust Concept Learning." Machine Intelligence Research 20, no. 1 (January 10, 2023): 79–91. http://dx.doi.org/10.1007/s11633-022-1360-1.

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Gortais, Bernard. "Abstraction and art." Philosophical Transactions of the Royal Society of London. Series B: Biological Sciences 358, no. 1435 (July 29, 2003): 1241–49. http://dx.doi.org/10.1098/rstb.2003.1309.

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In a given social context, artistic creation comprises a set of processes, which relate to the activity of the artist and the activity of the spectator. Through these processes we see and understand that the world is vaster than it is said to be. Artistic processes are mediated experiences that open up the world. A successful work of art expresses a reality beyond actual reality: it suggests an unknown world using the means and the signs of the known world. Artistic practices incorporate the means of creation developed by science and technology and change forms as they change. Artists and the public follow different processes of abstraction at different levels, in the definition of the means of creation, of representation and of perception of a work of art. This paper examines how the processes of abstraction are used within the framework of the visual arts and abstract painting, which appeared during a period of growing importance for the processes of abstraction in science and technology, at the beginning of the twentieth century. The development of digital platforms and new man–machine interfaces allow multimedia creations. This is performed under the constraint of phases of multidisciplinary conceptualization using generic representation languages, which tend to abolish traditional frontiers between the arts: visual arts, drama, dance and music.
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Dissertations / Theses on the topic "Visual abstraction"

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Gupta, Gaurav. "Visual region understanding : unsupervised extraction and abstraction." Thesis, University of Westminster, 2012. https://westminsterresearch.westminster.ac.uk/item/8z326/visual-region-understanding-unsupervised-extraction-and-abstraction.

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The ability to gain a conceptual understanding of the world in uncontrolled environments is the ultimate goal of vision-based computer systems. Technological societies today are heavily reliant on surveillance and security infrastructure, robotics, medical image analysis, visual data categorisation and search, and smart device user interaction, to name a few. Out of all the complex problems tackled by computer vision today in context of these technologies, that which lies closest to the original goals of the field is the subarea of unsupervised scene analysis or scene modelling. However, its common use of low level features does not provide a good balance between generality and discriminative ability, both a result and a symptom of the sensory and semantic gaps existing between low level computer representations and high level human descriptions. In this research we explore a general framework that addresses the fundamental problem of universal unsupervised extraction of semantically meaningful visual regions and their behaviours. For this purpose we address issues related to (i) spatial and spatiotemporal segmentation for region extraction, (ii) region shape modelling, and (iii) the online categorisation of visual object classes and the spatiotemporal analysis of their behaviours. Under this framework we propose (a) a unified region merging method and spatiotemporal region reduction, (b) shape representation by the optimisation and novel simplication of contour-based growing neural gases, and (c) a foundation for the analysis of visual object motion properties using a shape and appearance based nearest-centroid classification algorithm and trajectory plots for the obtained region classes. 1 Specifically, we formulate a region merging spatial segmentation mechanism that combines and adapts features shown previously to be individually useful, namely parallel region growing, the best merge criterion, a time adaptive threshold, and region reduction techniques. For spatiotemporal region refinement we consider both scalar intensity differences and vector optical flow. To model the shapes of the visual regions thus obtained, we adapt the growing neural gas for rapid region contour representation and propose a contour simplication technique. A fast unsupervised nearest-centroid online learning technique next groups observed region instances into classes, for which we are then able to analyse spatial presence and spatiotemporal trajectories. The analysis results show semantic correlations to real world object behaviour. Performance evaluation of all steps across standard metrics and datasets validate their performance.
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Spicker, Marc [Verfasser]. "Quantitative Models for Visual Abstraction / Marc Spicker." Konstanz : Bibliothek der Universität Konstanz, 2018. http://d-nb.info/1174143363/34.

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Boyle, Joseph. "Abstraction and the judgement of taste." Thesis, Queen's University Belfast, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.334496.

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Oesterling, Patrick. "Visual Analysis of High-Dimensional Point Clouds using Topological Abstraction." Doctoral thesis, Universitätsbibliothek Leipzig, 2016. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-203056.

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This thesis is about visualizing a kind of data that is trivial to process by computers but difficult to imagine by humans because nature does not allow for intuition with this type of information: high-dimensional data. Such data often result from representing observations of objects under various aspects or with different properties. In many applications, a typical, laborious task is to find related objects or to group those that are similar to each other. One classic solution for this task is to imagine the data as vectors in a Euclidean space with object variables as dimensions. Utilizing Euclidean distance as a measure of similarity, objects with similar properties and values accumulate to groups, so-called clusters, that are exposed by cluster analysis on the high-dimensional point cloud. Because similar vectors can be thought of as objects that are alike in terms of their attributes, the point cloud\'s structure and individual cluster properties, like their size or compactness, summarize data categories and their relative importance. The contribution of this thesis is a novel analysis approach for visual exploration of high-dimensional point clouds without suffering from structural occlusion. The work is based on implementing two key concepts: The first idea is to discard those geometric properties that cannot be preserved and, thus, lead to the typical artifacts. Topological concepts are used instead to shift away the focus from a point-centered view on the data to a more structure-centered perspective. The advantage is that topology-driven clustering information can be extracted in the data\'s original domain and be preserved without loss in low dimensions. The second idea is to split the analysis into a topology-based global overview and a subsequent geometric local refinement. The occlusion-free overview enables the analyst to identify features and to link them to other visualizations that permit analysis of those properties not captured by the topological abstraction, e.g. cluster shape or value distributions in particular dimensions or subspaces. The advantage of separating structure from data point analysis is that restricting local analysis only to data subsets significantly reduces artifacts and the visual complexity of standard techniques. That is, the additional topological layer enables the analyst to identify structure that was hidden before and to focus on particular features by suppressing irrelevant points during local feature analysis. This thesis addresses the topology-based visual analysis of high-dimensional point clouds for both the time-invariant and the time-varying case. Time-invariant means that the points do not change in their number or positions. That is, the analyst explores the clustering of a fixed and constant set of points. The extension to the time-varying case implies the analysis of a varying clustering, where clusters appear as new, merge or split, or vanish. Especially for high-dimensional data, both tracking---which means to relate features over time---but also visualizing changing structure are difficult problems to solve.
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Shaeffer, Eric Michael. "Shifting perspectives point of view in visual images affects abstract and concrete thinking /." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1236786651.

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Douce, Perrine. "Existe-t-il un lien entre ce que je pense et ce que j’imagine ? : une approche processuelle centrée sur les pensées répétitives négatives et la perspective visuelle en imagerie mentale." Thesis, Université Grenoble Alpes (ComUE), 2017. http://www.theses.fr/2017GREAH041/document.

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Les recherches actuelles en psychologie clinique sont centrées sur l’étude des processus psychologiques impliqués dans le développement et le maintien de nombreux troubles psychologiques. Deux de ces processus ont fait l’objet de nombreuses études : les pensées répétitives négatives (PRN), qui sont majoritairement verbales, et la perspective visuelle adoptée dans les images mentales (i.e., acteur vs. observateur). Bien que représentant des phénomènes distincts, les PRN et la perspective d’observateur semblent toutes deux avoir une fonction d’évitement et dépendre d’un processus d’abstraction centré sur l’analyse du « pourquoi » des événements (i.e., l’adoption d’un mode abstrait de traitement de l’information). Ces similarités fonctionnelles et processuelles amènent à se questionner sur les liens possibles entre les PRN et la perspective d’observateur. Pourtant, très peu d’études se sont intéressées à cette association. Par conséquent, cette thèse portait sur les liens entre les PRN et la perspective d’observateur en imagerie mentale, ainsi qu’à leur processus sous-jacent (i.e., l’abstraction) et leur fonction (i.e., l’évitement). Les résultats de quatre études corrélationnelles indiquent que les PRN et la perspective d’observateur ne sont pas associées. Ils répliquent aussi des résultats d’études passées sur le rôle de l’évitement et de l’abstraction dans les PRN mais pas dans la perspective d’observateur. Les résultats de trois études expérimentales montrent également que l’induction de PRN sur un mode abstrait n’a pas d’effet sur la perspective visuelle adoptée ou la réactivité émotionnelle et, plus globalement, que l’induction d’un mode abstrait de traitement de l’information n’a pas d’effet sur la perspective visuelle adoptée, les PRN, ou la réponse émotionnelle lors de l’anticipation ou le rappel d’une tâche émotionnelle. Finalement, une méta-analyse conduite sur les études publiées et les études menées dans le cadre de cette thèse semble confirmer l’absence de lien entre les PRN et la perspective d’observateur. Dans l’ensemble, il semblerait que les PRN et la perspective d’observateur en imagerie mentale ne soient pas associées. Ces résultats sont discutés au regard des modèles théoriques et des implications méthodologiques
Current research in clinical psychology is focused on the study of psychological processes implicated on the onset and maintenance of many psychological disorders. Two of these processes have been extensively explored: repetitive negative thinking (RNT), which is predominantly verbal, and the visual perspective adopted in mental images (i.e., actor vs. observer). Even if they represent two distinct phenomena, RNT and the observer perspective both seem to serve an avoidance function and be underpinned by a process of abstraction focused on the analysis of the “why” of events (i.e., the adoption of an abstract level of construal). These functional and processual similarities suggest a potential association between RNT and the observer perspective. However, few studies have examined this association. Therefore, this dissertation explored the association between RNT and the visual perspective in mental imagery as well as their underlying process (i.e., abstraction) and function (i.e., avoidance). Results of four correlational studies showed that RNT and the observer perspective were not associated. They also replicated results from previous studies on the role of avoidance and abstraction in RNT but not in visual perspective. Results from three experimental studies also showed that the induction of RNT at an abstract level had no effect on visual perspective or emotional reactivity, and more generally, that the induction of an abstract level of construal did not influence visual perspective, RNT, and emotional response during the anticipation or the post-event processing of an emotional task. Finally, a meta-analysis conducted on published studies as well as on our studies confirmed the absence of association between RNT and the observer perspective. Overall, it seems that RNT and the observer perspective adopted in mental imagery are not associated. These results are discussed in light of theoretical models and methodological implications
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Wu, David, and dwu8@optusnet com au. "Perceptually Lossless Coding of Medical Images - From Abstraction to Reality." RMIT University. Electrical & Computer Engineering, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080617.160025.

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This work explores a novel vision model based coding approach to encode medical images at a perceptually lossless quality, within the framework of the JPEG 2000 coding engine. Perceptually lossless encoding offers the best of both worlds, delivering images free of visual distortions and at the same time providing significantly greater compression ratio gains over its information lossless counterparts. This is achieved through a visual pruning function, embedded with an advanced model of the human visual system to accurately identify and to efficiently remove visually irrelevant/insignificant information. In addition, it maintains bit-stream compliance with the JPEG 2000 coding framework and subsequently is compliant with the Digital Communications in Medicine standard (DICOM). Equally, the pruning function is applicable to other Discrete Wavelet Transform based image coders, e.g., The Set Partitioning in Hierarchical Trees. Further significant coding gains are ex ploited through an artificial edge segmentation algorithm and a novel arithmetic pruning algorithm. The coding effectiveness and qualitative consistency of the algorithm is evaluated through a double-blind subjective assessment with 31 medical experts, performed using a novel 2-staged forced choice assessment that was devised for medical experts, offering the benefits of greater robustness and accuracy in measuring subjective responses. The assessment showed that no differences of statistical significance were perceivable between the original images and the images encoded by the proposed coder.
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Oesterling, Patrick [Verfasser], Gerik [Akademischer Betreuer] Scheuermann, Gerik [Gutachter] Scheuermann, and Thomas [Gutachter] Wischgoll. "Visual Analysis of High-Dimensional Point Clouds using Topological Abstraction / Patrick Oesterling ; Gutachter: Gerik Scheuermann, Thomas Wischgoll ; Betreuer: Gerik Scheuermann." Leipzig : Universitätsbibliothek Leipzig, 2016. http://d-nb.info/1240481624/34.

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Karlsson, Pellnor Märta-Louise. "Remediating abstracted character designs into a three-dimensional medium." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-19050.

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This paper examined how well different levels of visual abstraction in 2D characters can be remediated into 3D, focusing on the viewer’s opinion of the character and perception of its role or personality. Artifacts of two characters—six artifacts in total—were used in order to examine this. Each character’s artifacts consisted of 1) a visually abstracted 2D design, 2) an abstraction-preserving 3D model, and 3) a non-abstraction-preserving 3D model. Six participants were interviewed, and were asked to state their opinion of each artifact as well as their interpretation of its role and personality. The results showed that a 2D to 3D remediation method aimed at preserving design choices either did not affect the viewer’sopinion of the character, or made them like the 3D character more than the 2D version. Furthermore, the perception of character personality had slight differences in the abstraction-preserving 3D model compared to the 2D image.
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Halladjian, Sarkis. "Spatially Integrated Abstraction of Genetic Molecules." Electronic Thesis or Diss., université Paris-Saclay, 2020. http://www.theses.fr/2020UPASG056.

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Le génome humain est principalement constitué d'ADN, une macromolécule constituée d'une longue séquence linéaire de bases, étroitement serrée pour s'insérer dans le noyau relativement petit. L'empaquetage donne lieu à de multiples niveaux hiérarchiques d'organisation. Des recherches récentes ont montré que, parallèlement à la séquence linéaire, l'agencement spatial du génome joue un rôle important dans la fonction et l'activité du génome. La visualisation des aspects li-né-aires et spatiaux des données du génome est donc nécessaire. Dans cette thèse, nous nous concentrons sur le concept d'abstraction visuelle continue pour les données multi-échelles, appliqué à la visualisation du génome humain. L'abstraction visuelle est un concept inspiré par des illustrations qui simplifie le travail de traitement visuel, en guidant l'attention du spectateur vers les aspects importants.Nous commençons par extraire les caractéristiques des données multi-échelles et faisons une comparaison parallèle entre le génome et les données astronomiques. Les différences existantes créent le besoin d'approches différentes. Un point commun cependant est la nécessité de transitions continues qui aident les spectateurs à saisir les relations et les différences de taille relative entre les échelles. Pour satisfaire aux conditions posées par les deux aspects des données génomiques multi-échelles, nous présentons deux cadres conceptuels, basés sur les mêmes données. Le premier cadre, ScaleTrotter, représente la structure spatiale du génome, à tous les niveaux disponibles. Il donne à l'utilisateur la liberté de voyager du noyau d'une cellule aux atomes des bases, en passant par les différents niveaux d'organisation du génome. Pour rendre possible l'exploration de la structure de tous les niveaux, des transitions temporelles fluides sont utilisées. Même si toutes les échelles ne sont pas visibles simultanément, la transition temporelle utilisée superpose deux représentations d'un même élément à des échelles consécutives, ce qui met en évidence leur relation. Pour garantir la compréhensibilité et l'interactivité des données, les parties inutiles des données sont extraites à l'aide d'une caméra dépendante de l'échelle. Le deuxième cadre, Multiscale Unfolding, se concentre sur des aspects qui ne sont pas visibles dans ScaleTrotter : la séquence linéaire et une vue d'ensemble simultanée de tous les niveaux organisationnels. Les données sont redressées pour déplier l’empaquetage qui se produit à plusieurs niveaux de manière à conserver la connectivité entre les éléments. Pour représenter tous les niveaux disponibles, nous utilisons des transitions spatiales douces entre les niveaux. Ces transitions spatiales sont basées sur le même concept que les transitions temporelles du cadre précédent, en superposant les échelles et en mettant l'accent sur leur relation et leur différence de taille. Nous introduisons une technique d'interaction appelée Multiscale Zliding qui permet l'exploration des données et met davantage l'accent sur les différences de taille entre les niveaux. Dans chaque cadre conceptuel, l'un des deux aspects linéaire ou spatial des données sur le génome est sacrifié pour mettre l'accent sur l'autre. La thèse se termine par une discussion sur la possibilité de combiner les deux cadres, en minimisant les sacrifices pour explorer les deux aspects du génome qui sont d'égale importance. Dans cette thèse, nous faisons un pas de plus vers la compréhension complète de l'activité du génome
The human genome consists mainly of DNA, a macromolecule consisting of a long linear sequence of bases, tightly packed to fit in the relatively small nucleus. The packing gives rise to multiple hierarchical organizational levels. Recent research has shown that, along with the linear sequence, the spatial arrangement of the genome plays an important role in the genome’s function and activity. The visualization of both linear and spatial aspects of genome data is therefore necessary. In this thesis, we focus on the concept of continuous visual abstraction for multiscale data, applied to the visualization of the human genome. Visual abstraction is a concept inspired by illustrations that makes the job of visual processing simpler, by guiding the attention of the viewer to important aspects. We first extract characteristics of multiscale data and makes a parallel comparison between genome and astronomical data. The existing differences create the need for different approaches. A common point however is the need for continuous transitions that helps viewers grasp the relationships and relative size differences between scales. To satisfy the conditions posed by the two aspects of the multiscale genome data, we present two conceptual frameworks, based on the same data. The first framework, ScaleTrotter, represents the spatial structure of the genome, on all available levels. It gives users the freedom to travel from the nucleus of a cell to the atoms of the bases, passing through the different organizational levels of the genome. To make the exploration of the structure of all levels possible, smooth temporal transitions are used. Even though all the scales are not simultaneously visible, the temporal transition used superimposes two representations of the same element at consecutive scales emphasizing their relationship. To ensure the understandability and interactivity of the data, unnecessary parts of the data are abstracted away with the use of a scale-dependent camera. The second framework, Multiscale Unfolding, focuses on aspects that are not visible in ScaleTrotter: the linear sequence and a simultaneous overview of all the organizational levels. The data is straightened to unfold the packing that occurs on several levels in a way that conserves the connectivity between the elements. To represent all the available levels, we use smooth spatial transitions between the levels. These spatial transitions are based on the same concept of the temporal transitions of the previous framework, superimposing scales and emphasizing on their relationship and size difference. We introduce an interaction technique called Multiscale Zliding that allows the exploration of the data and further emphasizes the size differences between the levels. In each framework, one of either linear of spatial aspect of genome data is sacrificed to emphasize the other. The thesis concludes with a discussion about the possibility of combining the two frameworks, minimizing the sacrifices to explore the two equally important aspects of the genome. In this thesis, we take a step closer to fully understanding the activity of the genome
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Books on the topic "Visual abstraction"

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Shakespeare's visual theatre: Staging the personified characters. Cambrdige, England: Cambridge University Press, 2003.

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Visual dynamics in Jackson Pollock's abstractions. Ann Arbor, Mich: UMI Research Press, 1987.

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1937-, Harrison Andrew, ed. Philosophy and the visual arts: Seeing and abstracting. Dordrecht: Reidel Pub. Co., 1987.

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Gertsman, Elina, ed. Abstraction in Medieval Art. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789462989894.

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Abstraction haunts medieval art, both withdrawing figuration and suggesting elusive presence. How does it make or destroy meaning in the process? Does it suggest the failure of figuration, the faltering of iconography? Does medieval abstraction function because it is imperfect, incomplete, and uncorrected-and therefore cognitively, visually demanding? Is it, conversely, precisely about perfection? To what extent is the abstract predicated on theorization of the unrepresentable and imperceptible? Does medieval abstraction pit aesthetics against metaphysics, or does it enrich it, or frame it, or both? Essays in this collection explore these and other questions that coalesce around three broad themes: medieval abstraction as the untethering of the image from what it purports to represent; abstraction as a vehicle for signification; and abstraction as a form of figuration. Contributors approach the concept of medieval abstraction from a multitude of perspectives-formal, semiotic, iconographic, material, phenomenological, epistemological.
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Yang, Sherry. Generalizing abstractions in form-based visual programming languages: From direct manipulation to static representation. Corvallis, OR: Oregon State University, Dept. of Computer Science, 1996.

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Jörgensen, Corinne. Image attributes: An investigation. Ann Arbor, Mich: UMI, 2000.

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Utilisation des images d'archives dans l'audiovisuel. Paris]: Hermès sciences publications, 2012.

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Drabenstott, Karen Markey. Subject access to visual resources collections: A model for computer construction of thematic catalogs. New York: Greenwood Press, 1986.

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Markey, Karen. Subject access to visual resources collections: A model for computer construction of thematic catalogs. New York: Greenwood, 1986.

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Nakov, Svetlin. Fundamentals of Computer Programming with C#: The Bulgarian C# Book. Sofia, Bulgaria: Svetlin Nakov, 2013.

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Book chapters on the topic "Visual abstraction"

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Viola, Ivan, Min Chen, and Tobias Isenberg. "Visual Abstraction." In Foundations of Data Visualization, 15–37. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-34444-3_2.

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Betancourt, Michael. "Visual Music and Abstraction." In The Iconology of Abstraction, 143–59. New York: Routledge, 2020. | Series: Routledge advances in art and visual studies: Routledge, 2020. http://dx.doi.org/10.4324/9780429262500-14.

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Cai, Yang, David Kaufer, Emily Hart, and Yongmei Hu. "Visual Abstraction with Culture." In Computing with Instinct, 47–57. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-19757-4_4.

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Wilde, Carolyn. "Painting, Expression, Abstraction." In Philosophy and the Visual Arts, 29–50. Dordrecht: Springer Netherlands, 1987. http://dx.doi.org/10.1007/978-94-009-3847-2_2.

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Braddock, Alan C. "Activist Abstraction." In The Routledge Companion to Contemporary Art, Visual Culture, and Climate Change, 353–64. New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9780429321108-38.

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Raftopoulos, Konstantinos A., and Stefanos D. Kollias. "Visual Pathways for Shape Abstraction." In Lecture Notes in Computer Science, 291–98. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-21735-7_36.

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Akimaliev, Marlen, and M. Fatih Demirci. "Shape Abstraction through Multiple Optimal Solutions." In Advances in Visual Computing, 588–96. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-24031-7_59.

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Tversky, Barbara. "On Abstraction and Ambiguity." In Studying Visual and Spatial Reasoning for Design Creativity, 215–23. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-9297-4_13.

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Cai, Yang, David Kaufer, Emily Hart, and Elizabeth Solomon. "Semantic Visual Abstraction for Face Recognition." In Lecture Notes in Computer Science, 419–28. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-01970-8_41.

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Antol, Stanislaw, C. Lawrence Zitnick, and Devi Parikh. "Zero-Shot Learning via Visual Abstraction." In Computer Vision – ECCV 2014, 401–16. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-10593-2_27.

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Conference papers on the topic "Visual abstraction"

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Vedantam, Ramakrishna, Xiao Lin, Tanmay Batra, C. Lawrence Zitnick, and Devi Parikh. "Learning Common Sense through Visual Abstraction." In 2015 IEEE International Conference on Computer Vision (ICCV). IEEE, 2015. http://dx.doi.org/10.1109/iccv.2015.292.

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Parulek, Julius, Timo Ropinski, and Ivan Viola. "Seamless Visual Abstraction of Molecular Surfaces." In Spring Conference. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2508244.2508258.

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Janetzko, Halldór, Dominik Jäckle, Oliver Deussen, and Daniel A. Keim. "Visual abstraction of complex motion patterns." In IS&T/SPIE Electronic Imaging, edited by Pak Chung Wong, David L. Kao, Ming C. Hao, and Chaomei Chen. SPIE, 2013. http://dx.doi.org/10.1117/12.2035959.

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Zitnick, C. Lawrence, and Devi Parikh. "Bringing Semantics into Focus Using Visual Abstraction." In 2013 IEEE Conference on Computer Vision and Pattern Recognition (CVPR). IEEE, 2013. http://dx.doi.org/10.1109/cvpr.2013.387.

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Zhang, Di, Ligu Zhu, Zida Xiao, and Lei Zhang. "Visual abstraction improvement of interactive dot map." In 2016 17th IEEE/ACIS International Conference on Software Engineering, Artificial Intelligence, Networking and Parallel/Distributed Computing (SNPD). IEEE, 2016. http://dx.doi.org/10.1109/snpd.2016.7515942.

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Spicker, Marc, Franz Hahn, Thomas Lindemeier, Dietmar Saupe, and Oliver Deussen. "Quantifying visual abstraction quality for stipple drawings." In the Symposium. New York, New York, USA: ACM Press, 2017. http://dx.doi.org/10.1145/3092919.3092923.

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Darabi, Kaveh, Gheorghita Ghinea, Rajkumar Kannan, and Suresh Kannaiyan. "User-based video abstraction using visual features." In 2014 IEEE International Symposium on Signal Processing and Information Technology (ISSPIT). IEEE, 2014. http://dx.doi.org/10.1109/isspit.2014.7300631.

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Zhou, Kai, Andreas Richtsfeld, Michael Zillich, Markus Vincze, Alen Vrecko, and Danijel Skocaj. "Visual information abstraction for interactive robot learning." In 2011 15th International Conference on Advanced Robotics (ICAR 2011). IEEE, 2011. http://dx.doi.org/10.1109/icar.2011.6088626.

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Alharbi, Naif, Michael Krone, Matthieu Chavent, and Robert S. Laramee. "VAPLI: Novel Visual Abstraction for Protein-Lipid Interactions." In 2018 IEEE Scientific Visualization Conference (SciVis). IEEE, 2018. http://dx.doi.org/10.1109/scivis.2018.8823785.

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Gilani, Syed Omer, and Mohsin Jamil. "Video abstraction inspired by human visual attention models." In 2018 IEEE 9th Annual Information Technology, Electronics and Mobile Communication Conference (IEMCON). IEEE, 2018. http://dx.doi.org/10.1109/iemcon.2018.8614889.

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Reports on the topic "Visual abstraction"

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Rigotti, Christophe, and Mohand-Saïd Hacid. Representing and Reasoning on Conceptual Queries Over Image Databases. Aachen University of Technology, 1999. http://dx.doi.org/10.25368/2022.89.

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The problem of content management of multimedia data types (e.g., image, video, graphics) is becoming increasingly important with the development of advanced multimedia applications. Traditional database management systems are inadequate for the handling of such data types. They require new techniques for query formulation, retrieval, evaluation, and navigation. In this paper we develop a knowledge-based framework for modeling and retrieving image data by content. To represent the various aspects of an image object's characteristics, we propose a model which consists of three layers: (1) Feature and Content Layer, intended to contain image visual features such as contours, shapes,etc.; (2) Object Layer, which provides the (conceptual) content dimension of images; and (3) Schema Layer, which contains the structured abstractions of images, i.e., a general schema about the classes of objects represented in the object layer. We propose two abstract languages on the basis of description logics: one for describing knowledge of the object and schema layers, and the other, more expressive, for making queries. Queries can refer to the form dimension (i.e., information of the Feature and Content Layer) or to the content dimension (i.e., information of the Object Layer). These languages employ a variable free notation, and they are well suited for the design, verification and complexity analysis of algorithms. As the amount of information contained in the previous layers may be huge and operations performed at the Feature and Content Layer are time-consuming, resorting to the use of materialized views to process and optimize queries may be extremely useful. For that, we propose a formal framework for testing containment of a query in a view expressed in our query language. The algorithm we propose is sound and complete and relatively efficient.
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Rigotti, Christophe, and Mohand-Saïd Hacid. Representing and Reasoning on Conceptual Queries Over Image Databases. Aachen University of Technology, 1999. http://dx.doi.org/10.25368/2022.89.

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Abstract:
The problem of content management of multimedia data types (e.g., image, video, graphics) is becoming increasingly important with the development of advanced multimedia applications. Traditional database management systems are inadequate for the handling of such data types. They require new techniques for query formulation, retrieval, evaluation, and navigation. In this paper we develop a knowledge-based framework for modeling and retrieving image data by content. To represent the various aspects of an image object's characteristics, we propose a model which consists of three layers: (1) Feature and Content Layer, intended to contain image visual features such as contours, shapes,etc.; (2) Object Layer, which provides the (conceptual) content dimension of images; and (3) Schema Layer, which contains the structured abstractions of images, i.e., a general schema about the classes of objects represented in the object layer. We propose two abstract languages on the basis of description logics: one for describing knowledge of the object and schema layers, and the other, more expressive, for making queries. Queries can refer to the form dimension (i.e., information of the Feature and Content Layer) or to the content dimension (i.e., information of the Object Layer). These languages employ a variable free notation, and they are well suited for the design, verification and complexity analysis of algorithms. As the amount of information contained in the previous layers may be huge and operations performed at the Feature and Content Layer are time-consuming, resorting to the use of materialized views to process and optimize queries may be extremely useful. For that, we propose a formal framework for testing containment of a query in a view expressed in our query language. The algorithm we propose is sound and complete and relatively efficient.
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