Dissertations / Theses on the topic 'Visual mode'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Visual mode.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
Chou, Chien. "Effects of visual information presentation mode and testing mode on skill analysis training in an interactive video setting /." The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487682558444435.
Full textEngell, Jessen Maria Elisabeth. "Conversion as a narrative, visual, and stylistic mode in William Blake's works." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:0238fceb-5538-4a7b-903d-5952bf777286.
Full textMuñoz, Benavent Pau. "Robot Visual Servoing Using Discontinuous Control." Doctoral thesis, Universitat Politècnica de València, 2017. http://hdl.handle.net/10251/90430.
Full textEste trabajo presenta diferentes propuestas para tratar problemas habituales en el control de robots por realimentación visual, basadas en la aplicación de métodos de control discontinuos. La viabilidad y eficacia de las propuestas se fundamenta con resultados en simulación y con experimentos reales utilizando un robot manipulador industrial 6R. Las principales contribuciones son: - Invariancia geométrica utilizando control en modo deslizante (Capítulo 3): la invariancia de alto orden definida aquí es utilizada después por los métodos propuestos, para tratar problemas en control por realimentación visual. Se apuertan pruebas teóricas de la condición de invariancia. - Cumplimiento de restricciones en control por realimentación visual (Capítulo 4): esta propuesta utiliza métodos de control en modo deslizante para satisfacer restricciones mecánicas y visuales en control por realimentación visual, mientras una tarea secundaria se encarga del seguimiento del objeto. Las principales ventajas de la propuesta son: bajo coste computacional, robustez y plena utilización del espacio disponible para las restricciones. - Cambio de herramienta robusto para un robot industrial mediante control por realimentación visual (Capítulo 4): el control por realimentación visual y el método propuesto para el cumplimiento de las restricciones se aplican a una solución automatizada para el cambio de herramienta en robots industriales. La robustez de la propuesta radica en el uso del control por realimentación visual, que utiliza información del sistema de visión para cerrar el lazo de control. Además, el control en modo deslizante se utiliza simultáneamente en un nivel de prioridad superior para satisfacer las restricciones. Así pues, el control es capaz de dejar la herramienta en el intercambiador de herramientas de forma precisa, a la par que satisface las restricciones del robot. - Controlador en modo deslizante para seguimiento de referencia (Capítulo 5): se propone un enfoque basado en el control en modo deslizante para seguimiento de referencia en robots manipuladores industriales controlados por realimentación visual. La novedad de la propuesta radica en la introducción de un controlador en modo deslizante que utiliza la señal de control discontinua de alto orden, i.e. aceleraciones o jerks de las articulaciones, para obtener un comportamiento más suave y asegurar la estabilidad del sistema robótico, lo que se demuestra con una prueba teórica. - Control por realimentación visual mediante PWM y PFM en métodos completamente desacoplados (Capítulo 6): se propone un control discontinuo basado en modulación del ancho y frecuencia del pulso para métodos completamente desacoplados de control por realimentación visual basados en posición, con el objetivo de conseguir el mismo tiempo de convergencia para los movimientos de rotación y traslación de la cámara . Además, se presentan también otros resultados obtenidos en aplicaciones de control por realimentación visual.
Aquest treball presenta diferents propostes per a tractar problemes habituals en el control de robots per realimentació visual, basades en l'aplicació de mètodes de control discontinus. La viabilitat i eficàcia de les propostes es fonamenta amb resultats en simulació i amb experiments reals utilitzant un robot manipulador industrial 6R. Les principals contribucions són: - Invariància geomètrica utilitzant control en mode lliscant (Capítol 3): la invariància d'alt ordre definida ací és utilitzada després pels mètodes proposats, per a tractar problemes en control per realimentació visual. S'aporten proves teòriques de la condició d'invariància. - Compliment de restriccions en control per realimentació visual (Capítol 4): aquesta proposta utilitza mètodes de control en mode lliscant per a satisfer restriccions mecàniques i visuals en control per realimentació visual, mentre una tasca secundària s'encarrega del seguiment de l'objecte. Els principals avantatges de la proposta són: baix cost computacional, robustesa i plena utilització de l'espai disponible per a les restriccions. - Canvi de ferramenta robust per a un robot industrial mitjançant control per realimentació visual (Capítol 4): el control per realimentació visual i el mètode proposat per al compliment de les restriccions s'apliquen a una solució automatitzada per al canvi de ferramenta en robots industrials. La robustesa de la proposta radica en l'ús del control per realimentació visual, que utilitza informació del sistema de visió per a tancar el llaç de control. A més, el control en mode lliscant s'utilitza simultàniament en un nivell de prioritat superior per a satisfer les restriccions. Així doncs, el control és capaç de deixar la ferramenta en l'intercanviador de ferramentes de forma precisa, a la vegada que satisfà les restriccions del robot. - Controlador en mode lliscant per a seguiment de referència (Capítol 5): es proposa un enfocament basat en el control en mode lliscant per a seguiment de referència en robots manipuladors industrials controlats per realimentació visual. La novetat de la proposta radica en la introducció d'un controlador en mode lliscant que utilitza senyal de control discontínua d'alt ordre, i.e. acceleracions o jerks de les articulacions, per a obtindre un comportament més suau i assegurar l'estabilitat del sistema robòtic, la qual cosa es demostra amb una prova teòrica. - Control per realimentació visual mitjançant PWM i PFM en mètodes completament desacoblats (Capítol 6): es proposa un control discontinu basat en modulació de l'ample i la freqüència del pols per a mètodes completament desacoblats de control per realimentació visual basats en posició, amb l'objectiu d'aconseguir el mateix temps de convergència per als moviments de rotació i translació de la càmera. A més, es presenten també altres resultats obtinguts en aplicacions de control per realimentació visual.
Muñoz Benavent, P. (2017). Robot Visual Servoing Using Discontinuous Control [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/90430
TESIS
Maiti, Dipayan. "Multiset Model Selection and Averaging, and Interactive Storytelling." Diss., Virginia Tech, 2012. http://hdl.handle.net/10919/28563.
Full textPh. D.
Yamada-Rice, D. "An enquiry into young children's interaction with, and comprehension of, the visual mode in Japan." Thesis, University of Sheffield, 2013. http://etheses.whiterose.ac.uk/3773/.
Full textSöderström, Carina. "Garderobstaktik som visuell retorik : En kvalitativ studie av tre Youtube-influencers argumentation för en hållbar personlig still." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-444268.
Full textDuring the last decade, fashion influencers have used social media channels to spread the word about personal style. Due to the global focus on the climate change the content has begun to shift from a consumption culture to creating awareness about the negative influence of the textile industry on the environment. The purpose of this study is to examine three of these influencers’ argumentation in the videos they publish on YouTube. It investigates how the influencers use visual rhetoric to make a trustworthy impression to increase the number of followers and get paid sponsorships, without supporting unnecessary consumption. The study investigates a total of nine videos published on YouTube during 2019 and 2020. The visual content is processed using a qualitative method and analysed with a focus on the theoretical perspectives of visual rhetoric and production of social identity. The written follower comments, of the videos, are used to validate the result of the analysis. The three YouTube channels increased the number of followers with an average of 64 % during the study and the influencers are all in paid collaborations that represent all, or a part of, their total income. They thoroughly research the company before adding a new sponsorship and avoid brands that are not accepted by their followers to be ethical and sustainable. All the three influencers participating in the study use the same principal visual rhetoric arguments to convince the followers of the advantage of a sustainable style. They show a vast variety of outfit combinations using the limited amount of clothes in their wardrobes to create a personal style without the need of adding new clothes. The result of the study indicates, however, that the content of the videos is of less importance than how trustworthy the influencer is perceived by the followers. An analysis of the viewer comments suggest that their primary interest is to get inspiration from how the influencer produces identity through dress and appearance. By emulating their personal style, the followers hope to gain membership of the influencer’s community and achieve similar social status.
Söderström, Carina. "Garderobstaktik som visuell retorik : En kvalitativ studie av tre Youtube-influencers argumentation för en hållbar personlig stil." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-444268.
Full textDuring the last decade, fashion influencers have used social media channels to spread the word about personal style. Due to the global focus on the climate change the content has begun to shift from a consumption culture to creating awareness about the negative influence of the textile industry on the environment. The purpose of this study is to examine three of these influencers’ argumentation in the videos they publish on YouTube. It investigates how the influencers use visual rhetoric to make a trustworthy impression to increase the number of followers and get paid sponsorships, without supporting unnecessary consumption. The study investigates a total of nine videos published on YouTube during 2019 and 2020. The visual content is processed using a qualitative method and analysed with a focus on the theoretical perspectives of visual rhetoric and production of social identity. The written follower comments, of the videos, are used to validate the result of the analysis. The three YouTube channels increased the number of followers with an average of 64 % during the study and the influencers are all in paid collaborations that represent all, or a part of, their total income. They thoroughly research the company before adding a new sponsorship and avoid brands that are not accepted by their followers to be ethical and sustainable. All the three influencers participating in the study use the same principal visual rhetoric arguments to convince the followers of the advantage of a sustainable style. They show a vast variety of outfit combinations using the limited amount of clothes in their wardrobes to create a personal style without the need of adding new clothes. The result of the study indicates, however, that the content of the videos is of less importance than how trustworthy the influencer is perceived by the followers. An analysis of the viewer comments suggest that their primary interest is to get inspiration from how the influencer produces identity through dress and appearance. By emulating their personal style, the followers hope to gain membership of the influencer’s community and achieve similar social status.
Siganos, Ioannis. "Pulse mode light sensing using four-layer semiconductor structures and their application in neural networks." Thesis, Monterey, Calif. : Naval Postgraduate School, 2008. http://edocs.nps.edu/npspubs/scholarly/theses/2008/Dec/08Dec%5FSiganos.pdf.
Full textThesis Advisor(s): Karunasiri, Gamani ; Tummala, Murali. "December 2008." Description based on title screen as viewed on January 29, 2009. Includes bibliographical references (p. 69-71). Also available in print.
Childers, Chadwick T. "Instrument choice of fifth grade boys and girls aural and visual preference based on presentation mode." FIU Digital Commons, 2004. http://digitalcommons.fiu.edu/etd/2331.
Full textFitzpatrick, Dale Mary. "The effects of visual format and mode of presentation on nonnative speaker comprehension of verbal information." Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/28223.
Full textEducation, Faculty of
Language and Literacy Education (LLED), Department of
Graduate
McDougall, Jenny Kay, and j. mcdougall@cqu edu au. "Changing mindsets: A study of Queensland primary teachers and the visual literacy initiative." Central Queensland University. Education, 2004. http://library-resources.cqu.edu.au./thesis/adt-QCQU/public/adt-QCQU20050502.120010.
Full textBouaouina, Hend. "L’événement abordé comme discours : approche sémiotique des arts de la scène dans le secteur de la mode." Thesis, Toulouse 2, 2017. http://www.theses.fr/2017TOU20117.
Full textFocused on the interaction between Mode, event, space and body, the thesis proposes to treat the visual, communication and scenographic process of a fashion show. It is a meeting between different elements of an event of Fashion, transforming the body action in simultaneous and concurrent units, distributed in space and in time. Therefore, the representation of a fashion show is an issue between reception, perception, interpretation and cognition of different artistic practices. When organizing this work, we have pursued a double aiming: firstly we introduced the paradigmatic of elements involved in the composition of a fashion show then we have focused on the sequence syntagmatic of the Fashion show as an event to media purpose. Since then, we have illustrated by two photographic and filmic corpuses the similarities and the oppositions between these two models of a Fashion show Chanel. Finally, we have presented the way to materialize the meaning of the event gathering the spatial and visual practices of the parades and of their pragmatic sequence. By this analysis we hope to contribute to a better comprehension of the profound speech nature of the Event Fashion and its textualisation
Libler, Rebecca W. "A study of the effectiveness of interactive television as the primary mode of instruction in selected high school physics classes." Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/776632.
Full textDepartment of Educational Leadership
Liljengård, Anton. "Filstorleksoptimering för retuscheringsarbete : Enundersökning med fokus på moderetuschering." Thesis, Högskolan Dalarna, Grafisk teknologi, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:du-25077.
Full textDuring the processing of pictures today the file size often becomes large. An effective technological development has made the demand for quality higher. In a world where the photographer's camera has gotten a higher resolution, the image's file size has also increased. The aim of this thesis has been to come up with a recommendation for how to work towards getting a smaller file size. The recommendation was intended for retouchers who work in the fashion industry and with pictures meant for print. The work has dealt with file sizes associated with retouching and have tried to illustrate what during the retouch procedure that causes a larger file size. This has been done by contacting retouchers who often work with fashion images. The focus has been on the layers in Photoshop and editing options for the retoucher. The results showed that the retouchers had similar ways of working towards a small file size, and a certain similarity is apparent in their way of retouching which caused a bigger file size. What also showed was that the file size is the most affected by how layers consisting of pixels and masks look compared to adjustment layers.
Venjakob, Antje Cristine [Verfasser], Claudia [Akademischer Betreuer] Mello-Thoms, and Matthias [Akademischer Betreuer] Rötting. "Visual search, perception and cognition when reading stack mode cranial CT / Antje Cristine Venjakob. Gutachter: Matthias Rötting ; Claudia Mello-Thoms. Betreuer: Claudia Mello-Thoms ; Matthias Rötting." Berlin : Technische Universität Berlin, 2015. http://d-nb.info/1073584135/34.
Full textAl-Subari, Karema S. A. [Verfasser], Bernd [Akademischer Betreuer] Ludwig, and Elmar Wolfgang [Akademischer Betreuer] Lang. "A Study of Biomedical Time Series Using Empirical Mode Decomposition : Extracting event-related modes from EEG signals recorded during visual processing of contour stimuli / Karema S. A. Al-Subari ; Bernd Ludwig, Elmar Wolfgang Lang." Regensburg : Universitätsbibliothek Regensburg, 2017. http://d-nb.info/1140642073/34.
Full textBarron-Gonzalez, Hector. "Cognitive model for visual SLAM." Thesis, University of Sheffield, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.575461.
Full textKhan, Tamim Ahmed. "Model-based testing using visual contracts." Thesis, University of Leicester, 2012. http://hdl.handle.net/2381/27571.
Full textBayerl, Pierre. "A model of visual motion perception." [S.l. : s.n.], 2006. http://nbn-resolving.de/urn:nbn:de:bsz:289-vts-56293.
Full textDe, Biswas Kaustuv Kanti. "A computational model of visual interpretation." Thesis, Massachusetts Institute of Technology, 2006. http://hdl.handle.net/1721.1/35129.
Full textIncludes bibliographical references (leaves 48-50).
From the very early phases of design conception, designers use sketches as a powerful design tool. Sketches are however ambiguous. Meanings are associated on fly as the designer 'comes up' with certain ideas while working with it. There is no hierarchy in a sketch. In fact 'structure' is established only after meanings are applied to the sketch. However even in such structurally and conceptually fluid territory, the designer solves most of his design problems and very often comes to quick resolutions. To understand this fascinating tool and how the designer interacts with it, we need to understand how we visually interpret sketches. The process of design is also a reflective act. The designer keeps changing his perspectives and focus based on the unexpected opportunities that emerge from such reflection. Computational systems used today in design exploration are not capable of doing so. On the contrary these systems model the world in a very rigid structured way and cannot produce design ideas beyond what their preset description anticipates.
(cont.) From this perspective there is no novelty, or surprise, in such systems. As a step forward, this thesis proposes the following: 1. Visual Schemas as procedural units of visual memory. They schematically store real world knowledge (courtyard) and form the basis for interpretation. 2. Separation of Shape and Visual Concepts. This thesis suggests that shapes are flat and abstract collection of parts, while visual concepts are subjective and hierarchic ideas, which are formed from the shapes through interpretation. A LISP machine is presented as a basic computational framework for implementing and establishing the model that is proposed. It observes a relatively simple architectural sketch, interprets it reflectively through the activation of potential, alternative contexts, and then gives a collection of concepts that it manages to 'see' in the sketch.
by Kaustuv Kanti de Biswas.
S.M.
Chilukamari, Jayachandra. "A computational model of visual attention." Thesis, Robert Gordon University, 2017. http://hdl.handle.net/10059/2443.
Full textCisneros, Marco Antonio Perez. "Intelligent model structures in visual servoing." Thesis, University of Manchester, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.682243.
Full textBlais, Bruno. "Model-based visual inspection of hybrid circuits." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63928.
Full textLee, KangWoo. "Computational model of visual attention : integrative approach." Thesis, University of Sussex, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.289231.
Full textGilja, Vikash. "Learning and applying model-based visual context." Thesis, Massachusetts Institute of Technology, 2004. http://hdl.handle.net/1721.1/33139.
Full textIncludes bibliographical references (p. 53).
I believe that context's ability to reduce the ambiguity of an input signal makes it a vital constraint for understanding the real world. I specifically examine the role of context in vision and how a model-based approach can aid visual search and recognition. Through the implementation of a system capable of learning visual context models from an image database, I demonstrate the utility of the model-based approach. The system is capable of learning models for "water-horizon scenes" and "suburban street scenes" from a database of 745 images.
by Vikash Gilja.
M.Eng.
Oliveira, Jociele Lampert de. "INTERFACE ARTE-MODA: TECENDO UM OLHAR CRÍTICO-ESTÉTICO DO PROFESSOR DE ARTES VISUAIS." Universidade Federal de Santa Maria, 2005. http://repositorio.ufsm.br/handle/1/6796.
Full textEsta pesquisa foi desenvolvida na Linha de Educação e Artes/PPGE. Objetivou investigar aspectos referentes à discussão da interface arte-moda e suas implicações, para a construção de um olhar crítico-estético do professor de Artes Visuais na contemporaneidade. Os sujeitos da pesquisa foram quatro professores em formação inicial do Curso de Licenciatura em Artes Visuais da UFSM. Ao trabalhar esta temática com professores em formação inicial, buscou-se a possibilidade de pensar em mudanças conceituais na forma de articular o conteúdo. A moda foi considerada como elemento gerador desta possibilidade e partindo deste diálogo, a interface artística arte-moda pode ser considerada como um conjunto de elementos comuns (ou díspares), entre as duas áreas de conhecimento. A partir destes pontos de tensões entre a arte e a moda, abordou-se uma reflexão teórica da educação para a compreensão crítica da arte, baseada nas concepções de Franz (2003) e Hernández (2002), no que confere a moda como elemento articulador na cultura visual. A metodologia empregada baseou-se em uma abordagem qualitativa, subsidiada por observação participante, diário de campo e análise documental. Com os resultados da investigação se pôde averiguar como o professor teceu seu olhar a partir de vivências práticas e questionamentos conceituais sobre as imagens que relacionam arte-moda, bem como, a compreensão crítica acerca da percepção do seu próprio cotidiano.
Calza, Márlon Uliana. "A identidade visual no projeto gráfico de revistas de moda." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/115890.
Full textA tese analisa o projeto gráfico de revistas impressas de moda, problematizando a forma como seus elementos estruturais e visuais contribuem para a conformação de sua identidade visual e para a proposição de contratos de leitura. Problematiza as relações estabelecidas entre os campos do jornalismo e da moda, a partir do tensionamento de seus princípios e valores, incorporados pelo projeto gráfico das publicações: efemeridade e periodicidade; novidade e continuidade; normatividade e credibilidade; além da imitação e da diferenciação. Os procedimentos metodológicos adotados são a pesquisa teórica, a pesquisa de contextualização, e a pesquisa iconográfica, sendo que constrói-se uma abordagem sincrônica e outra diacrônica na problematização do objeto, a partir de aspectos jornalísticos, editoriais, históricos e visuais. A análise das revistas é realizada em duas etapas: na primeira etapa realiza-se uma observação exploratória de diferentes revistas de moda, nacionais e internacionais, que, somada aos aportes teóricos, possibilita a construção de um quadro de segmentação e caracterização das revistas de moda – composto por eixos e categorias relacionados ao seu gênero, target e tratamento dado aos temas, à sua periodicidade e circulação. A partir do instrumento, definese o corpus, constituído por cinco publicações brasileiras: UseFashion, ffw>>mag!, Elle Brasil, Estilo de Vida e Manequim. A partir da seleção de três edições de cada título publicadas no ano de 2013, realiza-se uma análise qualitativa, de modo comparativo e sistemático, e em conformidade às unidades e aos operadores analíticos definidos. Conclui-se que a identidade visual das revistas constitui-se a partir de elementos que não restringem-se à sua marca, propondo contratos de leitura que pressupõem o estabelecimento de relações visuais internas e externas às publicações – que visam à sua identificação, mas também à sua diferenciação junto ao segmento. Tais relações são manifestas pelo projeto gráfico, a partir da adoção de elementos recorrentes, comuns e particulares, identificados em cada uma das categorias de revista propostas, que articulam-se à cadeia da moda e dedicam-se: à (i) divulgação de matérias-primas, fornecedores e tendências; à (ii) cobertura dos desfiles e lançamentos; à (iii) moda conceitual; à (iv) moda e ao luxo; aos (v) guias de serviço; e à (vi) produção manual das roupas. Ao passo que as revistas do segmento de moda adotam certa padronização, aderindo a um quadro de referência compartilhado, buscam a sua diferenciação, através da adoção de práticas e estratégias editoriais, institucionais e comerciais particulares, além da atualização do passado e da renovação no tempo.
This thesis analyses the graphic design of printed fashion magazines and problematizes the way in which their structural and visual elements contribute to the formation of their visual identity and to the proposition of reading contracts. It also problematizes the relationship between the fields of journalism and fashion, departing from the tension among their principles and values embodied in the graphic design of the publications: ephemerality and periodicity; novelty and continuity; normativity and credibility; as well as imitation and differentiation. The methodological procedures adopted are theoretical research, context research and iconographic research, which build up into and synchronic and diachronic approach towards the object, considering the journalistic, editorial, historical and visual aspects. The analysis of the magazines was done in two phases: first, an exploratory observation of different fashion magazines, national and foreign, which, allied to theoretical support, allowed the construction of an outlook on the segmentation and characterization of fashion magazines – formed by axes and categories relating to their genre, target, and overview of the themes, their periodicity and circulation. From the instrument, the corpus is defined as constituted by five Brazilian publications: UseFashion, ffw>>mag!, Elle Brasil, Estilo de Vida and Manequim. From the selection of three editions of each title, all published in 2013, a qualitative analysis was done, in a comparative and systematic fashion, and according to the units and the defined analytical operators. We reached the conclusion that the visual identity of the magazines is built around elements that are not restricted to their brand, and it proposes reading contracts which presuppose the building of visual relationships both internal and external in relation to the publications – relationships that aim at their identification but also their differentiation in the segment. Such relationships are manifested by the graphic design, through the adoption of recurrent elements, both common and particular, identified in each of the proposed magazine categories, which are in articulation with the fashion industry and are dedicated to: (i) advertise components, suppliers and trends; (ii) coverage of fashion shows and new releases; (iii) conceptual fashion; (iv) fashion and luxury; (v) service guides and (vi) manual production of clothes. Fashion magazines tend to adopt a certain amount of standardization through shared milestones, but they also seek differentiation though the adoption of unique editorial, institutional and commercial practices and strategies, as well as the actualization of the past and renovation through time.
Griffin, Velda L. "Right Brain Study." UNF Digital Commons, 1985. http://digitalcommons.unf.edu/etd/24.
Full textDanelljan, Martin. "Visual Tracking." Thesis, Linköpings universitet, Datorseende, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-105659.
Full textVasconcelos, Igor. "A identidade construída: arte como representação visual de modelos." Master's thesis, Universidade de Aveiro, 2011. http://hdl.handle.net/10773/12656.
Full textEste projecto orienta-se em torno de um corpo simbólico de trabalhos que explora o processo de construção da identidade do indivíduo (hiper)moderno urbano. Com o desenvolvimento das tecnologias, a globalização e o crescimento das cidades, a construção da identidade tornou-se um processo fluido e mutável de acordo com as situações sociais. A moda e o consumo tornam-se agentes influentes neste processo, pois assumem o lugar das velhas ideologias, nomeadamente Igreja e Estado, e funcionam inseridos no paradigma do sistema capitalista de funcionamento. Nesta abordagem, a arte, para além da sua função de expressão cultural, surge como um reflexo dessas mudanças e inevitavelmente parte integrante do processo de consumo. Outro aspecto da construção da identidade é a questão do género, e como este se organiza nos tempos atuais, em conformidade com a vontade individual e o desejo, diante da organização da sociedade (hiper)moderna. A representação que surge, através da arte, de um novo modelo de género e sexualidade múltiplos faz com que o campo artístico valide essa nova imagem de homens e mulheres através de sua representação. A substância deste trabalho é, assim, a reflexão sobre a questão da identidade e sobre como os factores que são responsáveis por este processo de construção se relacionam com a arte contemporânea.
This project is oriented around a symbolic work that explores the process of building the identity of the urban (hyper)modern man. With the development of technologies, globalization and urban growth, the construction of identity has become a fluid process and changeable according to social situations. The fashion and consumption become powerful actors in this process, assuming the place of old ideologies, e.g. the Church and the State, and being embedded in the paradigm of the capitalist system of operation. In this approach, the art comes in addition to its function of cultural expression, as a result of these changes and inevitably part of the consumption process. Another aspect of the construction of identity is the gender issue, and how it organizes itself in modern times, in accordance with the wishes and desires that rise amidst the organization of modern society. The representation that emerges, through art, this new, multiple model of gender and sexuality makes the artistic field validate this new image of men and women through their representation. The substance of this work is thus a reflection on the question of identity and how those factors which are responsible for this process of construction relate to contemporary art.
Komodakis, Nikos. "Graphical Model Inference and Learning for Visual Computing." Habilitation à diriger des recherches, Université Paris-Est, 2013. http://tel.archives-ouvertes.fr/tel-00866078.
Full textPonsa, Mussarra Daniel. "Model-Based Visual Localisation Of Contours And Vehicles." Doctoral thesis, Universitat Autònoma de Barcelona, 2007. http://hdl.handle.net/10803/5782.
Full textEl treball dedicat al seguiment de formes s'enquadra en el paradigma de contorns actius, del qual presentem una revisió de les diferents propostes existents. En primer lloc, mesurem el rendiment obtingut pels algorismes de seguiment més comuns (filtres basats en Kalman i filtres de partícules), i en segon lloc avaluem diferents aspectes de la seva implementació en un extens treball experimental on es consideren múltiples seqüències sintètiques, distorsionades amb diferents graus de soroll. Així, mitjançant aquest estudi determinem la millor manera d'implementar a la pràctica els algorismes de seguiment clàssics, i identifiquem els seus pros i contres.
Seguidament, el treball s'orienta cap a la millora dels algoritmes de seguiment de contorns basats en filtres de partícules. Aquest algorismes aconsegueixen bons resultats sempre que el número de partícules utilitzades sigui suficient, però malauradament la quantitat de partícules requerides creix exponencialment amb el número de paràmetres a estimar. Per tant, i en el context del seguiment de contorns, presentem tres variants del filtre de partícules clàssic, corresponents a tres noves estratègies per tractar aquest problema. En primer lloc, proposem millorar el seguiment de contorns mirant de propagar més acuradament les partícules emprades per l'algorisme d'una imatge a la següent. Això ho duem a terme utilitzant una aproximació lineal de la funció de propagació òptima. La segona estratègia proposada es basa en estimar part dels paràmetres de manera analítica. Així, es pretén fer un ús més productiu de les partícules emprades, reduint la part dels paràmetres del model que s'han d'estimar amb elles. El tercer mètode proposat té com a objectiu treure profit del fet de que, en aplicacions de seguiment de contorns, sovint els paràmetres relatius a la transformació rígida es poden estimar prou acuradament independentment de la deformació local que el contorn presenti. Això s'utilitza per realitzar una millor propagació de les partícules, concentrant-les més densament en la zona on el contorn seguit es troba. Aquestes tres propostes es validen de manera extensiva en seqüències amb diferents nivells de soroll, amb les que es mesura la millora aconseguida.
A continuació proposem tractar directament l'origen del problema anterior mitjançant la reducció del nombre de paràmetres a estimar per tal de seguir una determinada forma d'interès. Per aconseguir això, proposem modelar aquesta forma usant múltiples models, on cadascun requereix una quantitat de paràmetres inferior a la requerida per un únic model. Es proposa un nou mètode per aprendre aquests models a partir d'un conjunt d'entrenament, així com un nou algorisme per emprar-los en el seguiment dels contorns. Els resultats experimentals certifiquen la validesa d'aquesta proposta.
Finalment, la tesi es centra en el desenvolupament d'un sistema de detecció i seguiment de vehicles. Les propostes realitzades comprenen: un mòdul de detecció de vehicles, un mòdul dedicat a determinar la posició i velocitat 3D dels vehicles detectats, i un mòdul de seguiment per actualitzar la localització dels vehicles a la carretera de manera precisa i eficient. Es realitzen diverses aportacions originals en aquests tres temes, i se n'avalua el rendiment.
This thesis focuses the analysis of video sequences, applying model-based techniques for extracting quantitative information. In particular, we make several proposals in two application areas: shape tracking based on contour models, and detection and tracking of vehicles in images acquired by a camera installed on a mobile platform.
The work devoted to shape tracking follows the paradigm of active contours, from which we present a review of the existent approaches. First, we measure the performance of the most common algorithms (Kalman based filters and particle filters), and then we evaluate its implementation aspects trough an extensive experimental study, where several synthetic sequences are considered, distorted with different degrees of noise. Thus, we determine the best way to implement in practice these classical tracking algorithms, and we identify its benefits and drawbacks.
Next, the work is oriented towards the improvement of contour tracking algorithms based on particle filters. These algorithms reach good results provided that the number of particles is high enough, but unfortunately the required number of particles grows exponentially with the number of parameters to be estimated. Therefore, and in the context of contour tracking, we present three variants of the classical particle filter, corresponding to three new strategies to deal with this problem. First, we propose to improve the contour tracking by propagating more accurately the particles from one image to the next one. This is done by using a linear approximation of the optimal propagation function. The second proposed strategy is based in estimating part of the parameters analytically. Thus, we aim to do a more productive use of the particles, reducing the amount of model parameters that must be estimated through them. The third proposed method aims to exploit the fact that, in contour tracking applications, the parameters related to the rigid transform can be estimated accurately enough independently from the local deformation presented by the contour. This is used to perform a better propagation of the particles, concentrating them more densely in the zone where the tracked contour is located. These three proposals are validated extensively in sequences with different noise levels, on which the reached improvement is evaluated.
After this study, we propose to deal directly with the origin of the previous problem by reducing the number of parameters to be estimated in order to follow a given shape of interest. To reach that, we propose to model the shape using multiple models, where each one requires a lower quantity of parameters than when using a unique model. We propose a new method to learn these models from a training set, and a new algorithm to use the obtained models for tracking the contours. The experimental results certify the validity of this proposal.
Finally, the thesis focuses on the development of a system for the detection and tracking of vehicles. The proposals include: a vehicle detection module, a module devoted to the determination of the three-dimensional position and velocity of the detected vehicles, and a tracking module for updating the location of vehicles on the road in a precise and efficient manner. Several original contributions are done in these three subjects, and their performance is evaluated empirically.
Neff, Michael Paul. "A visual model for blast waves and fracture." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0019/MQ40747.pdf.
Full textGupta, Ashish. "Learning a structured model for visual category recognition." Thesis, University of Surrey, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.600016.
Full textFreeborn, Robert Bruce. "A neural death model of the visual cortex." Thesis, University of Sussex, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.394270.
Full textLozo, Peter. "Neural theory and model of selective visual attention and 2D shape recognition in visual clutter /." Title page, contents and abstract only, 1996. http://web4.library.adelaide.edu.au/theses/09PH/09phl925.pdf.
Full textTalebzadeh, Shahrbabaki Shahrbanoo. "Contribution of colour in guiding visual attention and in a computational model of visual saliency." Thesis, Université Grenoble Alpes (ComUE), 2015. http://www.theses.fr/2015GREAT093/document.
Full textThe studies conducted in this thesis focus on the role of colour in visual attention. We tried to understand the influence of colour information on the eye movements while observing videos, to incorporate colour information into a model of visual saliency. For this, we analysed different characteristics of eye movements of observers while freely watching videos in two conditions: colour and grayscale videos. We also have compared the main regions of regard of colour videos with those of grayscale. We observed that colour information influences only moderately, the eye movement characteristics such as the position of gaze and duration of fixations. However, we found that colour increases the number of the regions of interest in video stimuli. Moreover, this varies across time. Based on these observations, we proposed a method to compute colour saliency maps for videos. We have incorporated colour saliency maps in an existing model of saliency
Harrison, David Graham. "A computational dynamical model of human visual cortex for visual search and feature-based attention." Thesis, University of Leeds, 2012. http://etheses.whiterose.ac.uk/4878/.
Full textRudiger, Philipp John Frederic. "Development and encoding of visual statistics in the primary visual cortex." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25469.
Full textSILVA, Veronica Gabriela Ribeiro da. "Ganho de contraste do potencial cortical provocado visual multifocal: efeitos da excentricidade e do modo de estimulação." Universidade Federal do Pará, 2016. http://repositorio.ufpa.br/jspui/handle/2011/8147.
Full textApproved for entry into archive by Edisangela Bastos (edisangela@ufpa.br) on 2017-04-11T15:56:44Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_GanhoContrastePotencial.pdf: 2379799 bytes, checksum: b7c8f6c20a4ffc70c03cd986fadbb07f (MD5)
Made available in DSpace on 2017-04-11T15:56:44Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_GanhoContrastePotencial.pdf: 2379799 bytes, checksum: b7c8f6c20a4ffc70c03cd986fadbb07f (MD5) Previous issue date: 2016-11-29
CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Neste estudo foram avaliadas as possíveis contribuições das vias paralelas visuais M e P para o potencial cortical provocado visual em diferentes excentricidades visuais usando o ganho de contraste como indicador fisiológico no primeiro (K2.1) e segundo (K2.2) slices do kernel de segunda ordem dos potenciais corticais provocados multifocais (mfVEPs). O trabalho foi aprovado pelo comitê de ética em pesquisa (023/2011 – CEP/NMT) do Núcleo de Medicina Tropical, Universidade Federal do Pará. Nove sujeitos (22,5 ± 3,7 anos de idade) com visão normal foram testados. O estímulo foi gerado através do programa VERIS (EDI, San Mateo, CA) e consistiu em um tabuleiro de dardos ocupando 44° do ângulo visual, com 60 setores escalonados considerando a magnificação cortical, onde cada setor continha 16 quadrados (8 pretos e 8 brancos) com contraste espacial de luminância e luminância média de 40 cd/m², mostrados através de um monitor CRT, situado a uma distância de 32 cm do indivíduo testado. Cada setor foi temporalmente modulado por uma sequência-m pseudo-aleatória no modo de apresentação de padrão reverso e padrão de pulso em cinco contrastes de Michelson entre 6,25-100%. Foram extraídos os dados de K2.1 e K2.2 dos mfVEPs. Calcularam-se os valores médios de amplitude de registros correspondentes a 6 diferentes anéis de mesma excentricidade no campo visual (A1 e A6 sendo os anéis mais interno e externo, respectivamente) em função do contraste do estímulo. Os dados de amplitude em função do contraste do estímulo foram modelados por funções de Michaelis-Menten. A constante de semissaturação (C50) do modelo foi o indicador inversamente proporcional do ganho de contraste da função. Em K2.1, respostas para o padrão reverso apresentaram um alto valor do C50 (média, desvio padrão: 35,5% ± 9,3), indicando baixo ganho de contraste na função. Para os anéis mais externos (A2 – A6), foram estimados C50 inferiores aos estimados em A1 (média, desvio padrão: A2: 26,5% ± 6,5; A3: 22,4% ± 8,8; A4: 18,4% ± 4,4; A5: 20,6% ± 9,3; A6: 26,7% ± 12), representando funções de alto ganho de contraste. Em K2.2, no anel central (A1) e no mais periférico (A6), as funções de resposta ao contraste geradas pelo padrão reverso apresentaram um alto valor do C50 (média, desvio padrão: 38,4% ± 4,2; 37,5% ± 10,2), indicando baixo ganho de contraste na função. De A2 a A5, originou funções com valores de C50 inferiores aos estimados em A1 (média, desvio padrão: A2: 27,4% ± 7,4; A3: 20,2% ± 4,9; A4: 22,4% ± 4,2; A5: 18,7% ± 3,2; A6: 23,1% ± 8,9), representando funções de alto ganho de contraste. Para o padrão de pulso, no K2.1 e K2.2, no anel central (A1) e no K2.2 no anel mais externo (A6), as funções de resposta ao contraste geradas não apresentaram valores significativos e confiáveis para a análise. Em K2.1 os anéis intermediários (A2 – A5) originaram funções com alto C50 (média, desvio padrão: A2: 44,7% ± 10,5; A3: 38,3% ± 12,1; A4: 45,8% ± 12,1; A5: 49,4% ± 16,1; A6: 47,8% ± 14,7), representando funções de baixo ganho de contraste. Em K2.2, nos anéis intermediários (A2 – A5, exceto em A4) a estimulação originou valores de C50 maiores do que em K2.1 (média, desvio padrão: A2: 50,2% ± 10,3; A3: 48,2% ± 11,1; A4: 28,5% ± 4,2; A5: 54,3% ± 16,2), representando funções de baixo ganho de contraste. Para o padrão reverso, os resultados sugerem a predominância da via M nos anéis excêntricos intermediários e da via P no anel mais central (A1) e no mais periférico (A6). Para o padrão de pulso, sugere predominância da via P em todas as excentricidades.
This study evaluated effects of eccentricity and mode presentation on the multifocal visual evoked potential (mfVEPS) recordings extracted by second-order kernels and its possible contributions from parallel visual pathways. Nine subjects (22.5 ± 3.7 years-old) were studied. All the subjects had 20/20 or corrected visual acuity and no previous history of neuro-ophtahlmic diseases or degenerative diseases. The subjects were tested with non dilated pupil in a monocular way. All the experimental procedures agreed to the tenets of Helsinki and were approved by Committee for Ethic in Research of Nucleus of Tropical Medicine (023/2011 protocol, Federal University of Pará, Belém, PA, Brazil). A CRT monitor displayed a 22º radius, 60 sectors dartboard, each sector with 16 checks (8 white and 8 black), pattern mean luminance of 40 cd/m2. The pattern selection to be shown in each sector was temporally modulated according to a binary pseudorandom m-sequence. Two stimulation protocols were used and we called them as pattern reversal and pattern pulse. Stimulus was presented at five Michelson contrast levels (100%, 50%, 25%, 12.5%, and 6.25%) in two trials with increasing and decreasing contrast order. The subject was instructed to keep the eye in a red cross (1º) placed at the center of the screen. Veris 6.01 was used to configure the stimuli. mfVEPs were recorded with gold cup electrodes: the reference electrode was placed at the inion; the recording electrodes were placed at, 4 cm above the inion (channel 1), 1 cm above and 4 cm to the right of the inion (channel 2), 1 cm above and 4 cm to the left of the inion (channel 3). Ground surface electrode was placed at the forehead. Skin impedance was kept below 5 KOhm. Recordings were amplified 100.000x, band-pass filtered between 3 and 100 Hz. The Veris 6.1 performed an offline low-pass filtering at 35 Hz. Veris 6.1 was used to extract first (K2.1) and second (K2.2) slices from second-order kernels data from original channels. Using MATLAB routines three additional channels were computed from the subtraction of the three original channels. For each subject, a signal-to-noise ratio (SNR) evaluation was performed over the averaged data of two trials in each one of the 6 channels. We measured the RMS amplitude of signal and noise interval of each recording. Finally, we analyzed the waveforms with best SNR for each sector. Mean RMS amplitude for each of six eccentric rings (R1 and R6 are the inner and outer rings, respectively) and for all rings together as a function of stimulus contrast was modeled using Michaelis-Menten functions. Semi-saturation constant (C50) of the contrast-response function was used as indicator of response contrast gain. For pattern reversal protocol contrast-response functions from K2.1/K2.2 had the following C50 values: R1: 35,5% ± 9,3; R2: 26,5% ± 6,5; R3: 22,4% ± 8,8; R4: 18,4% ± 4,4; R5: 20,6% ± 9,3; R6: 26,7% ± 12 / R1: 38,4% ± 4,2; R2: 27,4% ± 7,4; R3: 20,2% ± 4,9; R4: 22,4% ± 4,2; R5: 18,7% ± 3,2; R6: 23,1% ± 8,9. For pattern pulse protocol contrast-response functions from K2.1/K2.2 had the following C50 values: R1: 0; R2: 44,7% ± 10,5; R3: 38,3% ± 12,1; R4: 45,8% ± 12,1; R5: 49,4% ± 16,1; R6: 47,8% ± 14,7 / R1: 0; R2: 50,2% ± 10,3; R3: 48,2% ± 11,1; R4: 28,5% ± 4,2; R5: 54,3% ± 16,2; R6: 0. Two contrast sensitivity mechanisms contribute to mfVEPs elicited by stimuli located in the central visual field, one mechanism with higher contrast gain (pattern reversal mfVEP) and other mechanism with low contrast gain (pattern pulse). For stimulus at the periphery visual field, mechanism with high contrast gain contributed to the generation of mfVEPs elicited by all stimulation modes.
Peng, Fanke. "Visual Thinking - Beyond Craft Making : Identifying and verifying a visual analysis model (VAM) for craft practice." Thesis, University of Dundee, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.521661.
Full textFonseca, Annelise Nani da. "Processo criador no ensino da moda." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-20072016-115216/.
Full textThis research analyzes ways through visual studies aiming to reflect on the fashion school linked to cultural awareness through image analysis. The aim consists to investigate possibilities to think the teaching and learning of creative fashion process. For this, we sought to interpret as images are designed, investigating its relationship with the culture in which they are inserted. Therefore, the research looks at different interpretations of creativity to support its reflection regarding the creative process in fashion in order to enhance their práxis for teaching and fostering the creativity of students. The project also included an in loco survey, in France, in order to observe how the creative process is working in the country and the relationship of culture with the teaching strategies, so to support a comparative study of fostering the creation of fashion courses in Brazil and France. In addition, it presents the development of an authorial collection to demonstrate how image reading can contribute to stimulating creativity in fashion.
Tavakoli, Fatemeh. "On Visual Attention in Natural Images." Thesis, Linnéuniversitetet, Institutionen för fysik och elektroteknik (IFE), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-48256.
Full textThillainathan, Niroshan [Verfasser]. "Model Driven Visual Programming for Serious Games / Niroshan Thillainathan." Kassel : Kassel University Press, 2016. http://d-nb.info/1125909552/34.
Full textAkbarinia, SeyedArash. "Computational model of visual perception: from colour to form." Doctoral thesis, Universitat Autònoma de Barcelona, 2017. http://hdl.handle.net/10803/457882.
Full textLa idea original d'aquest projecte va ser estudiar la importància del color al reconeixement d'objectes. Comencem estenent la investigació prèvia sobre l’anomenament de colors i demostrant la viabilitat de capturar termes de color a través d’el·lipsoides. Tot i que els nostres resultats van superar l'estat de l’art utilitzant dues bases de dades, vam veure que els fenòmens de llums metamèriques i constància de color havien de ser tractats abans de qualsevol processament de color. Sobre la nostra investigació de parells metamèriques concloem que són infreqüents en el món real. Contràriament a això, la il·luminació d'una escena sovint canvia dràsticament. Abordem aquest problema proposant un model de constància de color inspirat en l'adaptació dinàmica del centre-envoltant de les neurones al còrtex visual. Això s'implementa a través de dues gaussianes asimètriques superposades, les variàncies i les alçades de les quals s'ajusten amb el contrast local dels píxels. Complementem aquest model amb un mecanisme genèric d'agrupació variant per contrast que connecta inversament el percentatge de senyal agrupada amb el contrast d'una regió. Els resultats sobre quatre bases de dades van ser prometedors: el model proposat superava, en molts casos, els models basats en aprenentatge. Encoratjats per l'èxit obtingut, ampliem aquesta proposta per detectar les vores dels objectes. Proposem un model de detecció de vores basat en la primera derivada del nucli gaussià. Incorporem quatre tipus de voltants: completa, distant, orientació isogonal i ortogonal. A més, comptem amb el mecanisme d'agrupació en les àrees corticals superiors i la retroalimentació de la forma, que és enviada a les zones més baixes. Els nostres resultats en tres bases de dades van millorar l'estat de l’art en els algoritmes sense aprenentatge. En resum, hem demostrat que els models biològicament inspirats ofereixen solucions per a visió per computador, com anomenament de colors, constància de color i detecció de vores. Creiem que la major contribució d'aquesta tesi doctoral és el modelatge del concepte de modulació envoltant dinàmica que mostra la importància de la integració de l’entorn que varia segons el contrast. Els models proposats es basen en una part del que sabem sobre la visió humana. Per tant, és natural complementar-los en treballs futurs.
Schlör, Rainer C. "Symbolic timing diagrams a visual formalism for model verification /." [S.l. : s.n.], 2002. http://deposit.ddb.de/cgi-bin/dokserv?idn=963925326.
Full textTissainayagam, Prithiviraj 1967. "Visual tracking : development, performance evaluation, and motion model switching." Monash University, Dept. of Electrical and Computer Systems Engineering, 2001. http://arrow.monash.edu.au/hdl/1959.1/8944.
Full textSomasundaram, Arunachalam. "A facial animation model for expressive audio-visual speech." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1148973645.
Full textHarder, Robert W. "A quantitative model for assessing visual simulation software architecture." Monterey, California. Naval Postgraduate School, 2011. http://hdl.handle.net/10945/10790.
Full textChen, Zhijian 1972 Cowan Nelson. "Boundary conditions for a visual working memory capacity model." Diss., Columbia, Mo. : University of Missouri--Columbia, 2009. http://hdl.handle.net/10355/7013.
Full text