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 méthodologiquesCurrent 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 génomeThe 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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Hartman, Nathaniel. "Examining Sonic Relationships in a Visual Context." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1339115456.
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Tolmie, Julie, and julie tolmie@techbc ca. "Visualisation, navigation and mathematical perception: a visual notation for rational numbers mod1." The Australian National University. School of Mathematical Sciences, 2000. http://thesis.anu.edu.au./public/adt-ANU20020313.101505.
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There are three main results in this dissertation.
The first result is the construction of an abstract visual space for rational
numbers mod1, based on the visual primitives, colour, and rational radial
direction. Mathematics is performed in this visual notation by defining
increasingly refined visual objects from these primitives. In particular,
the existence of the Farey tree enumeration of rational numbers mod1
is identified in the texture of a two-dimensional animation.
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The second result is a new enumeration of the rational numbers mod1,
obtained, and expressed, in abstract visual space, as the visual object
coset waves of coset fans on the torus. Its geometry is shown to encode
a countably infinite tree structure, whose branches are cosets, nZ+m,
where n, m (and k) are integers. These cosets are in geometrical 1-1
correspondence with sequences kn+m, (of denominators) of rational
numbers, and with visual subobjects of the torus called coset fans.
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The third result is an enumeration in time of the visual hierarchy of the
discrete buds of the Mandelbrot boundary by coset waves of coset fans.
It is constructed by embedding the circular Farey tree geometrically into
the empty internal region of the Mandelbrot set. In particular, coset fans
attached to points of the (internal) binary tree index countably infinite
sequences of buds on the (external) Mandelbrot boundary.
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Chu, Joni, and Irving Harrison. "INCREASING MONITORING CAPACITY TO KEEP PACE WITH THE WIRELESS REVOLUTION." International Foundation for Telemetering, 2000. http://hdl.handle.net/10150/608276.
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International Telemetering Conference Proceedings / October 23-26, 2000 / Town & Country Hotel and Conference Center, San Diego, CaliforniaWith wireless communications becoming the rule rather than the exception, satellite operators need tools to effectively monitor increasingly large and complex satellite constellations. Visual data monitoring increases the monitoring capacity of satellite operators by several orders of magnitude, enabling them to track hundreds of thousands of parameters in real-time on a single screen. With this powerful new tool, operators can proactively address potential problems before they become customer complaints.
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Riley, Rachele Cyr. "Aesthetic Representations of Violence: Visualizing the Art of War." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd_retro/40.
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In this project I explore visual representation, abstraction, and the interpretation of violence as transformed aesthetic forms. Through drawing and film, I develop a visual language to interpret the subject of war, to allow my audience to experience the dynamics of conflict and to reflect upon the devastating toll that war takes on humanity.
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Kaiser, Adrien. "Analyse de scène temps réel pour l'interaction 3D." Thesis, Université Paris-Saclay (ComUE), 2019. http://www.theses.fr/2019SACLT025/document.
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Cette thèse porte sur l'analyse visuelle de scènes intérieures capturées par des caméras de profondeur dans le but de convertir leurs données en information de haut niveau sur la scène. Elle explore l'application d'outils d'analyse géométrique 3D à des données visuelles de profondeur en termes d'amélioration de qualité, de recalage et de consolidation. En particulier, elle vise à montrer comment l'abstraction de formes permet de générer des représentations légères pour une analyse rapide avec des besoins matériels faibles. Cette propriété est liée à notre objectif de concevoir des algorithmes adaptés à un fonctionnement embarqué en temps réel dans le cadre d'appareils portables, téléphones ou robots mobiles. Le contexte de cette thèse est l'exécution d'un procédé d’interaction 3D temps réel sur un appareil mobile. Cette exécution soulève plusieurs problématiques, dont le placement de zones d'interaction 3D par rapport à des objets environnants réels, le suivi de ces zones dans l'espace lorsque le capteur est déplacé ainsi qu'une utilisation claire et compréhensible du système par des utilisateurs non experts. Nous apportons des contributions vers la résolution de ces problèmes pour montrer comment l'abstraction géométrique de la scène permet une localisation rapide et robuste du capteur et une représentation efficace des données fournies ainsi que l'amélioration de leur qualité et leur consolidation. Bien que les formes géométriques simples ne contiennent pas autant d'information que les nuages de points denses ou les ensembles volumiques pour représenter les scènes observées, nous montrons qu’elles constituent une approximation acceptable et que leur légèreté leur donne un bon équilibre entre précision et performanceThis PhD thesis focuses on the problem of visual scene analysis captured by commodity depth sensors to convert their data into high level understanding of the scene. It explores the use of 3D geometry analysis tools on visual depth data in terms of enhancement, registration and consolidation. In particular, we aim to show how shape abstraction can generate lightweight representations of the data for fast analysis with low hardware requirements. This last property is important as one of our goals is to design algorithms suitable for live embedded operation in e.g., wearable devices, smartphones or mobile robots. The context of this thesis is the live operation of 3D interaction on a mobile device, which raises numerous issues including placing 3D interaction zones with relation to real surrounding objects, tracking the interaction zones in space when the sensor moves and providing a meaningful and understandable experience to non-expert users. Towards solving these problems, we make contributions where scene abstraction leads to fast and robust sensor localization as well as efficient frame data representation, enhancement and consolidation. While simple geometric surface shapes are not as faithful as heavy point sets or volumes to represent observed scenes, we show that they are an acceptable approximation and their light weight makes them well balanced between accuracy and performance
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Jonsson, Erik. "Illustrative Visualization of Anatomical Structures." Thesis, Linköpings universitet, Medie- och Informationsteknik, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-72602.
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Illustrative visualization is a term for visualization techniques inspired by traditional technical and medical illustration. These techniques are based on knowledge of the human perception and provide effective visual abstraction to make the visualizations more understandable. Within volume rendering these expressive visualizations can be achieved using non-photorealistic rendering that combines different levels of abstraction to convey the most important information to the viewer. In this thesis I will look at illustrative techniques and show how these can be used to visualize anatomical structures in a medical volume data. The result of the thesis is a prototype of an anatomy education application, that makes use of illustrative techniques to have a focus+context visualization with feature enhancement, tone shading and labels describing the anatomical structures. This results in an expressive visualization and interactive exploration of the human anatomy.
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Piton-Foucault, Émilie. "La fenêtre condamnée : Transparence et opacité de la représentation dans Les Rougon-Macquart d’Émile Zola." Thesis, Rennes 2, 2012. http://www.theses.fr/2012REN20015/document.
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La fenêtre transparente d’une oeuvre ouverte sur le monde a été érigée comme un modèle de la représentation zolienne par une critique qui, tout en dénonçant la transitivité comme une utopie littéraire naïve, n’en a pas moins validé la pertinence pour comprendre la démarche de Zola. La fenêtre condamnée interroge le passage de ce motif en un symbole métadiscursif validant la théorie de la transitivité, au regard de son actualisation dans le cycle romanesque des Rougon-Macquart. Celle-ci plaide contre toute attente pour un dysfonctionnement de ce « technème » de la description, et donc pour une esthétique beaucoup moins tournée vers la transparence qu’elle ne le prétend elle-même bien souvent. De cette idée naît l’examen d’une possible esthétique de l’opacité de la représentation zolienne, se plaisant à perturber tous lesrelais usuels de la fiction romanesque réaliste (miroirs, enquêteurs et autres artistes réalistes…). Le naturalisme zolien semble ainsi davantage commandé par le modèle de la perversion voyeuriste, consciente de l’inaccessibilité de son désir (rendre compte du réel), qu’elle entretiendrait afin d’en cacher la fatale déception. Cette réalité inatteignable illustréepar le cycle des Rougon-Macquart conforterait dès lors l’assimilation de l’oeuvre zolienne à des théories en apparence bien éloignées de l’image caricaturale du naturalisme, celle d’un réel conçu comme une illusion chez Taine et Schopenhauer, ou encore celle d’une oeuvre fétiche nécessairement subordonnée à l’artifice, refermée sur la projection subjective de l’artiste, dans une préfiguration étonnante des recherches de la poétique mallarméenne et despremiers tenants de l’abstraction picturaleTTransparent panes of glass and wide-open windows are some of the common models Zola’s critics have set up to emphasise the will of transitivity in his art. Although they denounce this idea as a literary utopia, it is still used as a pertinent key to understand Zolian fictional processes. La fenêtre condamnée questions the promotion of the “transparent window” to a metadiscursive symbol of Zolian transitivity by analysing its actualization in the Rougon- Macquart cycle. The study points out an astonishing dysfunction of this supposed “adjunct” of description in the novels, pleading for a totally different aesthetic pattern : an aesthetic of opaqueness, attacking all means of depicting objective reality (windows panes, mirrors,investigators, realistic artists...). Therefore, Zolian naturalism benefits from being understood as a metaphoric voyeurist perversion. Like Peeping Tom, Zola’s fiction acknowledges its desire to be out of reach, but its maintains it in order to avoid disappointment. This idea of an inaccessible reality makes Zolian writing very close to theories apparently far from thecaricature of naturalism : world and reality as an illusion in Taine and Schopenhauer’s theses ; work of art as an artefact or a fetish, enclosed for the projection of a subjective mind, foreshadowing avant-gardist researches in Mallarmé’s poetry, or pioneering abstract paintings
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Dina, Isæus-Berlin. "Dealing With Strokes." Thesis, Konstfack, Institutionen för Konst (K), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7730.
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Dina Isæus-Berlin is an abstract painter. The essay examines an artistic practice, its intentions, methods and connection to aikido. Aikido is shortly presented as are the artistic process - how a painting is made. The studio and the dojo are central places. Knowledge, spontaneity, control, resistance, failure and other principles that affect the individual progress within both aikido and painting are reflected upon.Dina Isæus-Berlin är en abstrakt målare. Essän behandlar en konstnärlig praktik, dess intentioner, metoder och beröringspunkter med aikidon. Aikidon presenteras i korthet och likaså den konstnärliga processen, hur en målning blir till. Ateljén och dojon är centrala platser. Det reflekteras över kunskap, spontanitet, kontroll, motstånd och misslyckande liksom andra principer som påverkar den egna utvecklingen både inom aikidon och måleriet.
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Whearty, Lauren Ann. "Making Space: Language, Painting, Poem." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1307394266.
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Bender, Molly. "Between near and far : somewhere in between." Honors in the Major Thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1357.
Full textAbstract:
This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Humanities
Visual Art
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Barb, Adrian S. "Knowledge representation and exchange of visual patterns using semantic abstractions." Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/6674.
Full textAbstract:
Thesis (Ph. D.)--University of Missouri-Columbia, 2008.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on July 21, 2009) Includes bibliographical references.
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Demir, Ismail [Verfasser], Rüdiger [Akademischer Betreuer] [Gutachter] Westermann, and Jens [Gutachter] Krüger. "Visual Abstractions for Analyzing Uncertain Multidimensional Data / Ismail Demir ; Gutachter: Jens Krüger, Rüdiger Westermann ; Betreuer: Rüdiger Westermann." München : Universitätsbibliothek der TU München, 2016. http://d-nb.info/112372931X/34.
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Stewart, Brian. "Pictures in words : indexing, folksonomy and representation of subject content in historic photographs." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2013. https://ro.ecu.edu.au/theses/687.
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Subject access to images is a major issue for image collections. Research is needed to understand how indexing and tagging contribute to make the subjects of historic photographs accessible.
This thesis firstly investigates the evidence of cognitive dissonance between indexers and users in the way they attribute subjects to historic photographs, and, secondly, how indexers and users might work together to enhance subject description. It analyses how current indexing and social tagging represent the subject content of historic photographs. It also suggests a practical way indexers can work with taggers to deal with the classic problem of resource constraints and to enhance metadata to make photo collections more accessible. In an original application of the Shatford/Panofsky classification matrix within the applications domain of historic images, patterns of subject attribution are explored between taggers and professional indexers.
The study was conducted in two stages. The first stage (Studies A to D) investigated how professional indexers and taggers represent the subject content of historic photographs and revealed differences based on Shatford/Panofsky. The indexers (Study A) demonstrated a propensity for specific and generic subjects and almost complete avoidance of abstracts. In contrast, a pilot study with users (Study B) and with baseline taggers (Studies C and D) showed their propensity for generics and equal inclination to specifics and abstracts. The evidence supports the conclusion that indexers and users approach the subject content of historic photographs differently, demonstrating cognitive dissonance, a conflict between how they appear to think about and interpret images.
The second stage (Study E) demonstrated that an online training intervention affected tagging behaviour. The intervention resulted in increased tagging and fuller representation of all subject facets according to the Shatford/Panofsky classification matrix. The evidence showed that trained taggers tagged more generic and abstract facets than untrained taggers. Importantly, this suggests that training supports the annotation of the higher levels of subject content and so potentially provides enhanced intellectual access.
The research demonstrated a practical way institutions can work with taggers to extend the representation of subject content in historic photographs. Improved subject description is critical for intellectual access and retrieval in the cultural heritage space. Through systematic application of the training method a richer corpus of descriptors might be created that enhances machine based information retrieval via automatic extraction.
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Noordhuis-Fairfax, Sarina. "Field | Guide: John Berger and the diagrammatic exploration of place." Phd thesis, Canberra, ACT : The Australian National University, 2018. http://hdl.handle.net/1885/154278.
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Positioned between writing and drawing, the diagram is proposed by John Berger as an alternative strategy for articulating encounters with landscape. A diagrammatic approach offers a schematic vocabulary that can compress time and offer a spatial reading of information. Situated within the contemporary field of direct data visualisation, my practice-led research interprets Berger’s ‘Field’ essay as a guide to producing four field | studies within a suburban park in Canberra. My seasonal investigations demonstrate how applying the conventions of the pictorial list, dot-distribution map, routing diagram and colour-wheel reveals subtle ecological and biographical narratives.
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Oesterling, Patrick. "Visual Analysis of High-Dimensional Point Clouds using Topological Abstraction." Doctoral thesis, 2015. https://ul.qucosa.de/id/qucosa%3A14718.
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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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Mohammed, Haneen. "Abstractocyte: A Visual Tool for Exploring Nanoscale Astroglial Cells." Thesis, 2017. http://hdl.handle.net/10754/624967.
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This thesis presents the design and implementation of Abstractocyte, a system for the visual analysis of astrocytes, and their relation to neurons, in nanoscale volumes of brain tissue. Astrocytes are glial cells, i.e., non-neuronal cells that support neurons and the nervous system. Even though glial cells make up around 50 percent of all cells in the mammalian brain, so far they have been far less studied than neurons. Nevertheless, the study of astrocytes has immense potential for understanding brain function. However, the complex and widely-branching structure of astrocytes requires high-resolution electron microscopy imaging and makes visualization and analysis challenging. Using Abstractocyte, biologists can explore the morphology of astrocytes at various visual abstraction levels, while simultaneously analyzing neighboring neurons and their connectivity. We define a novel, conceptual 2D abstraction space for jointly visualizing astrocytes and neurons. Neuroscientists can choose a joint visualization as a specific point in that 2D abstraction space. Dragging this point allows them to smoothly transition between different abstraction levels in an intuitive manner. We describe the design of Abstractocyte, and present three case studies in which neuroscientists have successfully used our system to assess astrocytic coverage of synapses, glycogen distribution in relation to synapses, and astrocytic-mitochondria coverage.
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Shaw, Rayford Wesley. "A Structural analysis and visual abstraction of the pictorial in the Aeneid, I-VI." Thesis, 2000. http://hdl.handle.net/10500/16021.
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The pictorial elements of the first six books of the
Aeneid can be evidenced through an examination of its
structural components. With commentaries on such
literary devices as parallels and antipodes, interwoven
themes, cyclic patterns, and strategic placement of words
in the text, three genres of painting are treated
individually in Chapter 1 to illustrate the poet's
consistency of design and to prove him a craftsman of the
visual arts.
In the first division, "Cinematic progression," attention
is directed to the language which conveys movement and
frequentative action, with special emphasis placed on
specific passages whose verbal components possess
sculptural or third-dimensional traits and contribute to
the "spiral" and "circle" motifs, the appropriate visual
agents for animation.
Depiction of mythological subjects comprises the second
division entitled "Cameos and snapshots." Three
selections, dubbed monstra, are explicated with such
cross references as to illustrate the poet's use of
epithets which he distributes passim to elicit verbal
echoes of other passages.
The final division, "The Vergilian landscape," addresses
two major themes, antithetical in nature, the martial and
the pastoral. Their sequential juxtaposition in the text
renders a marked contrast in mood which is manifested
pictorially in the transition from darkness to light. A
panoramic chiaroscuro emerges which is the tapestry
against which Aeneas makes his sojourn through the
Underworld. It is the perfect backdrop to accompany the
overriding theme of "things hidden," res latentes, which
encompasses a greater part of the epic and becomes the
culminant motif of the paintings which comprise the
visual presentation.
Chapter 2 functions as a catalogue raisonne for art
inspired by the Aeneid from early antiquity up to the
present day. Such examples of artistic expression
provide a continuum with which to appropriate Horace's
maxim, ut pictura poesis, in their evaluation.
The verbal exegeses in Chapter 1 have been programmed to
comport with the thematic content of the visual
presentation in Chapter 3, a critique exemplifying the
transposition of the verbal to the pictorial. With these
canvases I have attempted to render a new perspective of
Vergil's epic in the genre of abstract expressionism.Art
D. Litt. et Phil.
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Prudenti, Richard. "Effective visual representation: graphic style and the communication of design intent." Thesis, 2018. http://hdl.handle.net/2097/39328.
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Master of Landscape ArchitectureDepartment of Landscape Architecture/Regional and Community Planning
Katie (Mary Catherine) Kingery-Page
Landscape architecture lacks evidence-based theory for the communicative effectiveness of graphics used in representing design ideas to stakeholders. For the purpose of this study, communicative effectiveness is operationalized as visual communication that expresses accurately the design in a way that the receiver understands the intentions — programmatic, experiential or otherwise — of the design. People need graphic representation to grasp abstract concepts, and drawings can help one imagine what a place can look like years down the road (Hester 2007). Graphics inform the viewer about essential elements of the design and the broader impact that design has on future experiences (Coe 1981). Knowing how people perceive and understand design graphics is key to communicating effectively to clients and other stakeholders. Graphic communication is complex, and no formula exists for communication in landscape architecture (Kingery-Page and Hahn 2012; Ware 2014). The questions guiding this study are: What graphic representation styles increase the non-designers’ understanding of design proposals? Do degrees of abstraction or realism affect understanding of the design drawing? I identified three research phases to adequately answer the questions: Phase One: Site Design Development — I designed a site plan for the Manhattan Arts Center (MAC), a community arts center in Manhattan, Kansas. Design intentions were carefully outlined based on stakeholder input. Phase Two: Graphics Production — Visual representations of the site design were developed in styles ranging from formal abstract to more realistic, based on review of precedent images in academic and professional architectural publications. Phase Three: Evaluation of Graphics Through Focus Groups— The communicative effectiveness of the representations were tested through three focus groups of stakeholders. Content analysis of the recorded focus group sessions revealed patterns of understanding the graphics. Overall, participants revealed that the more real the abstraction, the less understanding takes place. Formal Abstraction communicates the physical dimensions of the design most effectively, and Formal Abstraction has relatively the same communicative effectiveness regarding experience of place. Quantitative and qualitative data informed the creation of theories and a framework practitioners may use for selecting the most effective graphic communication options appropriate to project and audience. Key Words: Effective visual representation, visual communication, graphic style, Formal Abstraction, Semi-Realistic Abstraction, Realistic Abstraction, drawings, design intent, design ideas, accurate, perception, understanding, stakeholders, non-designer, landscape architecture.
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Tolmie, Julie. "Visualisation, navigation and mathematical perception: a visual notation for rational numbers mod1." Phd thesis, 2000. http://hdl.handle.net/1885/6969.
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There are three main results in this dissertation. The first result is the construction of an abstract visual space for rational numbers mod1, based on the visual primitives, colour, and rational radial direction. Mathematics is performed in this visual notation by defining increasingly refined visual objects from these primitives. In particular, the existence of the Farey tree enumeration of rational numbers mod1 is identified in the texture of a two-dimensional animation. The second result is a new enumeration of the rational numbers mod1, obtained, and expressed, in abstract visual space, as the visual object coset waves of coset fans on the torus. Its geometry is shown to encode a countably infinite tree structure, whose branches are cosets, nZ+m, where n, m (and k) are integers. These cosets are in geometrical 1-1 correspondence with sequences kn+m, (of denominators) of rational numbers, and with visual subobjects of the torus called coset fans. The third result is an enumeration in time of the visual hierarchy of the discrete buds of the Mandelbrot boundary by coset waves of coset fans. It is constructed by embedding the circular Farey tree geometrically into the empty internal region of the Mandelbrot set. In particular, coset fans attached to points of the (internal) binary tree index countably infinite sequences of buds on the (external) Mandelbrot boundary.
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Spier, Bryan. "Narratives of Shape and Colour." Phd thesis, 2016. http://hdl.handle.net/1885/117008.
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My practice-led research investigates how narrative
concepts can be employed to generate abstract compositions in
painting, drawing and print. The project challenges the view that
narrative and abstract art are mutually exclusive forms by
creating abstract artworks that employ narrative concepts and
strategies. My research negotiates this by identifying the
essential components of narrative and proposing that they can
also function as formal elements in an abstract work. This is
supported by theories of narrative that present it as a set of
structural conventions that mediate and summarise real or
imagined events, and make them conform to the material limits of
an artwork. The research question is tested exhaustively in the
studio using a variety of forms and methods: including digital
sketches, pen and ink drawings, scanography, and densely layered
paintings. My abstract compositions begin by conforming to the
material limits of the flat picture plane, yet by applying
narrative concepts they expand to project speculative histories
and alternative versions of themselves.
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Shepherdson, Kerry Anne. "The nature of nature : an exploration of botanical themes, growth patterns and ornamental traditions, and the operation of metaphor and visual interpretations of life and growth as a means to abstraction in painting." Master's thesis, 2011. http://hdl.handle.net/1885/150189.
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The presentation of this Master of Philosophy thesis consists of studio practice-led research in the form of an exhibition of paintings at the School of Art Gallery from 16 March-1 April 2011, an exegesis giving a full account of the nature and development of the research undertaken during the course of the study, and two coursework components undertaken in the first year.
The work explores botanical themes, growth patterns and ornamental traditions, and the operation of metaphor and visual interpretations of life and growth as a means to abstraction in painting.
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Dwarika, Jeraline. "The use of ALICE, a visual environment for teaching and learning object-oriented programming." Diss., 2014. http://hdl.handle.net/10500/13369.
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University students learning object-oriented programming (OOP) encounter many complexities. This study undertook empirical research aimed at analysing learners’ interactions with the Alice visual programming environment, which seeks to engage and motivate learners to grasp concepts of OOP, whilst creating animated movies and video games.
A mixed-methods approach was employed, using questionnaire surveys and interviews to investigate learners’ experiences with Alice and their understanding of OOP. Findings indicated that learners lacked problem-solving abilities; were unable to grasp programming concepts on an abstract level and spent insufficient time practicing programming exercises. Alice proved to be an effective tool in helping to address these challenges and in improving learners’ grasp of OOP. Learners found Alice to have good usability.
Furthermore, test and exam results revealed a statistically significant difference between performances of learners who had been taught Alice in comparison to similar learners who were not exposed to the Alice intervention.Computing
Information Systems
M. Sc. (Information systems)
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Allan, Michele Margaret. "‘LIQUID SPACE’: a visual investigation of the sea as an empirical, experiential and metaphoric space." Phd thesis, 2013. http://hdl.handle.net/1885/13491.
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Artworks produced in this studio-based research (option D) involve exploration
of the ‘liquid space’ of the sea, not just in its physical and sensual nature and the
way the sea looks, but also with what the sea inspires. They explore the spatial
dynamics of underwater terrains, convergences of inner and outer ‘space’, and
question if and how the numinous and immaterial might be made manifest in the
material. References to the traditional story of Jonah and the Whale operate as a
contemporary metaphor for the sea as a site of death and renewal. Through the
creation of series of paintings, works on paper and engraved glass overlays, the sea
is examined as a synthesis of the complex and diverse on many fluidly interacting
levels, including the empirical, experiential and metaphoric. As a poetic space with
many levels of resonance, it becomes ground for exploring the creative process,
the nature of being and processes of transformation and change within each.
Research questions include: What might a contemporary expression of
the interaction of the physical and metaphysical self be like? How might a
synthesis of abstraction and representation be created in the visual language of
painting? How might concepts of unity be reconciled with rhythms of death and
renewal, transformation and change? Does unity necessarily mean uniform?
A significant aspect of this research has been the generation of artworks on or through
field trips to locations by the sea - Cape Leveque in North-east Australia, Heron Island
Research Station on the Great Barrier Reef and South Bruny Island in Tasmania. In
exploring the interface between abstraction and representation, unity and diversity,
and the inner and outer worlds, I have discovered the sea rich ground for reenvisioning
these seeming opposites as co-creative, relational and finally inseparable.
The ‘Wave’ structure of the Exegesis is more than usually organic in form. Conventional
chapters are replaced by multiple and varied sections, each called a WAVE and written
in changing ‘voice’. Echoing the shifting rhythms of the sea, and in order to correspond
more directly to the way practice-driven research creates meaning, the wave structure
reflects the wider concerns of the research to synthesise the unexpected and diverse.
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Brooker, Caelli Jo. "Lost in translation: the materialisation of the mark in the digital age." Thesis, 2014. http://hdl.handle.net/1959.13/1047961.
Full textAbstract:
Research Doctorate - Doctor of Philosophy (PhD)This practice-led research asks how personal mark-making might materialise in light of the potentialities of the digital creative landscape. The exhibition, Lost in Translation, examines the materials and metaphors of personal mark-making, drawing on individual experience in the fields of art and design, and extending an ongoing investigation into the abstract gestural mark. This thesis locates the conceptual and material encounter of mark-making within the prism of contemporary studio practice through the use of traditional media in combination with paradigms of graphic design. Inspired by an instance of slippage between the haptic operations of art and design, and furthered by the recognition of polarisation between the analogue and the digital in personal creative practice, the identification and investigation of binary oppositions is utilised as an initial framework through which to explore the mark. The generative potential of Deleuzian conceptions of difference and repetition are then engaged in reappraising these binary structures. The knowledge contributed by this process is embodied in the identification and creative manifestation of the concept of the visual contranym. In response to the de-constructed binary, the DeleuzoGuattarian rhizome proves a resonant philosophical theme through which to develop and apply a corresponding approach to research that mirrors the interconnected creative processes of art and design. A resultant metaphorical and methodological strategy of translation, transformation and multiplicity frames the work: a progression from binary division toward rhizomatic exploration and incorporation. An inclusive rhizomatic model is thereby postulated and applied for negotiating the connective multiplicities inherent in artistic research. The empiric application of this model is tested and evidenced through multiple methodologies, drawing on an interdisciplinary theoretical, technical and material ‘toolbox’. Visuality, graphesis, typography and the diagrammatic; elements of the tools shared by art and design, are also proposed as strategic, generative methods of creative discovery, navigation, and analysis in linking thought to its representations. To this end, the creative work for this research involves distinct, but interwoven streams of material investigation. These rhizomatic studio encounters, alongside the consideration and deployment of digital design paradigms and personal symbolic elements manifest multiple materialisations of mark-making in the digital age.
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Yang, Sherry. "Generalizing abstractions in form-based visual programming languages : from direct manipulation to static representation." Thesis, 1996. http://hdl.handle.net/1957/34379.
Full textAbstract:
We believe concreteness, direct manipulation and responsiveness in a visual
programming language increase its usefulness. However, these characteristics present a
challenge in generalizing programs for reuse, especially when concrete examples are used
as one way of achieving concreteness. In this thesis, we present a technique to solve this
problem by deriving generality automatically through the analysis of logical relationships
among concrete program entities from the perspective of a particular computational goal.
Use of this technique allows a fully general form-based program with reusable abstractions
to be derived from one that was specified in terms of concrete examples and direct
manipulation.
Also addressed in this thesis is how to statically represent the generalized programs.
In general, we address how to design better static representations. A weakness of many
interactive visual programming languages is their static representations. Lack of an
adequate static representation places a heavy cognitive burden on a VPL's programmers,
because they must remember potentially long dynamic sequences of screen displays in
order to understand a previously-written program. However, although this problem is
widely acknowledged, research on how to design better static representations for interactive
VPLs is still in its infancy.
Building upon the cognitive dimensions developed for programming languages by
cognitive psychologists Green and others, we have developed a set of concrete benchmarks
for VPL designers to use when designing new static representations. These benchmarks
provide design-time information that can be used to improve a VPL's static representation.Graduation date: 1997
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Pereyra, Lucas Martín. "Video Abstracción." Bachelor's thesis, 2015. http://hdl.handle.net/11086/1687.
Full textAbstract:
Los videos realizados están basados y ligados en cierto modo a una característica
esencial del cine, la secuencia de imágenes, el desarrollo cambiante de escenarios, este
es uno de los aspectos por el cual me interesó como referente el “cine absoluto”, un
subgénero del cine experimental de los años 20 que posee este aspecto que lo diferencia,
en general, de otros tipos de variantes del video arte que lo sucedieron, el ritmo
cambiante de escenas que construyen algo que aparenta ser un relato, aunque esté
formado por elementos abstractos o imágenes inconexas. El propio método de la
exploración sobre la abstracción me ha llevado a construir múltiples “escenas” que se
desarrollan y relacionan entre sí, un aspecto clave que se mantiene a lo largo de la
experimentación.
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Pereyra, Lucas Martín. "Video-Abstracción." Bachelor's thesis, 2014. http://hdl.handle.net/11086/5629.
Full textAbstract:
Los videos realizados están basados y ligados en cierto modo a una característica esencial del cine, la secuencia de imágenes, el desarrollo cambiante de escenarios, este es uno de los aspectos por el cual me interesó como referente el “cine absoluto”, un
subgénero del cine experimental de los años 20 que posee este aspecto que lo diferencia, en general, de otros tipos de variantes del video arte que lo sucedieron, el ritmo cambiante de escenas que construyen algo que aparenta ser un relato, aunque esté
formado por elementos abstractos o imágenes inconexas. El propio método de la exploración sobre la abstracción me ha llevado a construir múltiples “escenas” que se desarrollan y relacionan entre sí, un aspecto clave que se mantiene a lo largo de la
experimentación.
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Rodrigues, Ana Cristina Miguel. "Relatório de estágio apresentado à Universidade da Madeira para obtenção do grau de mestre em ensino das artes visuais no 3º ciclo do ensino básico e no ensino secundário." Master's thesis, 2010. http://hdl.handle.net/10400.13/275.
Full textAbstract:
Sob o nome Representação visual: Transformações e (Des)Construções da
Realidade, pretende-se que este trabalho seja reflexo dos entendimentos da autora
sobre os aspectos impulsionadores de novas concepções da realidade, novos processos
de transformação gráfica que delas advêm, e a sua aplicação ao ensino das artes
visuais.
Tomando a arte como meio de educação e segundo a perspectiva do ensino
português que tende a valorizar disciplinas científicas e linguísticas, este trabalho
pretende comprovar que a educação se torna incompleta sem a componente artística.
Dessa forma, a investigação aspira à explanação do modo como a arte se encontra
ligada à ciência, justificando-se desse modo a incongruência de se manter uma
diferenciação assumida entre as áreas acima referidas. Reservou-se para a prática
pedagógica a aplicação dos conteúdos programáticos relacionados com a investigação
científica elaborada, propondo actividades formuladas para um maior estímulo e
incentivo à criatividade.
No desenvolvimento da prática pedagógica considerou-se de extrema importância a abordagem transversal entre o ambiente de liberdade de expressão e a aceitação dos entendimentos dos alunos, quanto à realização e finalização dos seus trabalhos, incentivando a tolerância e respeito durante todo o processo e também perante os resultados. A Parte I divide-se em abordagem histórica, quanto à representação e a concepção de novas realidades, relativamente à pintura; processos de transformação gráfica em relação com a pintura; e análise quanto à influência dessas alterações no ensino das artes visuais em três escolas de referência: Deutscher Werkbund, Bauhaus e Escola Superior de Ulm. Na Parte II analisam-se as teorias Behaviorista e o Construtivista, sob o ponto de vista da criatividade e através dos seus principais teóricos. Reservou-se para a Parte III o relatório da Prática Pedagógica.Universidade da Madeira
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Cai, Hongyuan. "Video anatomy : spatial-temporal video profile." Thesis, 2014. http://hdl.handle.net/1805/4832.
Full textAbstract:
Indiana University-Purdue University Indianapolis (IUPUI)A massive amount of videos are uploaded on video websites, smooth video browsing, editing, retrieval, and summarization are demanded. Most of the videos employ several types of camera operations for expanding field of view, emphasizing events, and expressing cinematic effect. To digest heterogeneous videos in video websites and databases, video clips are profiled to 2D image scroll containing both spatial and temporal information for video preview. The video profile is visually continuous, compact, scalable, and indexing to each frame. This work analyzes the camera kinematics including zoom, translation, and rotation, and categorize camera actions as their combinations. An automatic video summarization framework is proposed and developed. After conventional video clip segmentation and video segmentation for smooth camera operations, the global flow field under all camera actions has been investigated for profiling various types of video. A new algorithm has been designed to extract the major flow direction and convergence factor using condensed images. Then this work proposes a uniform scheme to segment video clips and sections, sample video volume across the major flow, compute flow convergence factor, in order to obtain an intrinsic scene space less influenced by the camera ego-motion. The motion blur technique has also been used to render dynamic targets in the profile. The resulting profile of video can be displayed in a video track to guide the access to video frames, help video editing, and facilitate the applications such as surveillance, visual archiving of environment, video retrieval, and online video preview.