Academic literature on the topic 'Visual Spacial Impression'

Geographic object-based image analysis (GEOBIA) is a primary remote sensing tool utilized in land-cover mapping and change detection. Land-cover patches are the primary data source for landscape metrics and ecological indicator calculations; however, their application to visual landscape character (VLC) indicators was little investigated to date. To bridge the knowledge gap between GEOBIA and VLC, this paper puts forward the theoretical concept of using viewpoint as a landscape imageability indicator into the practice of a multi-temporal land-cover case study and explains how to interpret the indicator. The study extends the application of GEOBIA to visual landscape indicator calculations. In doing so, eight different remote sensing imageries are the object of GEOBIA, starting from a historical aerial photograph (1957) and CORONA declassified scene (1965) to contemporary (2018) UAV-delivered imagery. The multi-temporal GEOBIA-delivered land-cover patches are utilized to find the minimal isovist set of viewpoints and to calculate three imageability indicators: the number, density, and spacing of viewpoints. The calculated indicator values, viewpoint rank, and spatial arrangements allow us to describe the scale, direction, rate, and reasons for VLC changes over the analyzed 60 years of landscape evolution. We found that the case study nature reserve (“Kózki”, Poland) landscape imageability transformed from visually impressive openness to imageability due to the impression of several landscape rooms enclosed by forest walls. Our results provide proof that the number, rank, and spatial arrangement of viewpoints constitute landscape imageability measured with the proposed indicators. Discussing the method’s technical limitations, we believe that our findings contribute to a better understanding of land-cover change impact on visual landscape structure dynamics and further VLC indicator development.

The ultrastructure of chromatin fibers isolated from erythrocyte nuclei of Necturus maculosus and contrasted with a number of negative stains is described. Long (greater than 1000 nm) fibers are prepared under ionic conditions that promote fiber integrity, fixed with glutaraldehyde and negatively stained with aurothioglucose, ammonium molybdate, methylamine tungstate, sodium phosphotungstate, uranyl acetate and a uranyl acetate-sodium phosphotungstate sequence. All stains yield images of ‘30 nm’ chromatin fibers, but aurothioglucose gives the most consistent diameter measurements (33 nm, S.D. 3.5 nm), and provides the clearest images of individual nucleosomes. Regions of fiber showing structural order are seen with all stains. The most commonly observed is a regular pattern of oblique cross-striations consistent with the visualization of the ‘top’ or ‘bottom’ of a helical structure. There is a significant relationship between fiber diameter and the cross-striation angle, consistent with an extensible chromatin fiber. Examination of power spectra prepared from selected ordered regions confirms the visual impressions, and indicates a striation spacing ranging from 11 nm to 18 nm, and dependent on the stain type. Fibers allowed to unfold slightly in a buffer containing 50 mM monovalent ions show evidence of a two-stranded helix-like organization. These results are discussed in terms of current models for the structure of the chromatin fiber.

Abstract Sea ice models have become essential components of weather, climate, and ocean models. A realistic representation of sea ice affects the reliability of process representation, environmental forecast, and climate projections. Realistic simulations of sea ice kinematics require the consideration of both large-scale and finescale geomorphological structures such as linear kinematic features (LKF). We propose a multiscale directional analysis (MDA) that diagnoses the spatial characteristics of LKFs. The MDA is different from previous analyses in that it (i) does not detect LKFs as objects, (ii) takes into account the width of LKFs, and (iii) estimates scale-dependent orientation and intersection angles. The MDA is applied to pairs of deformation fields derived from satellite remote sensing data and from a numerical model simulation with a horizontal grid spacing of ~4.5 km. The orientation and intersection angles of LKFs agree with the observations and confirm the visual impression that the intersection angles tend to be smaller in the satellite data compared to the model data. The MDA distributions can be used to compare satellite data and numerical model fields using conventional metrics such as a Euclidean distance, the Bhattacharyya coefficient, or the Earth mover’s distance. The latter is found to be the most meaningful metric to compare distributions of LKF orientations and intersection angles. The MDA proposed here provides a tool to diagnose if modified sea ice rheologies lead to more realistic simulations of LKFs.

Summary Nine multimillion-cell geostatistical earth models of the Marrat reservoir in Magwa field, Kuwait, were upscaled for streamline (SL) screening and finite-difference (FD) flow simulation. The scaleup strategy consisted of (1) maintaining square areal blocks over the oil column, (2) upscaling to the largest areal-block size (200 x 200 m) compatible with 125-acre well spacing, (3) upscaling to less than 1 million gridblocks for SL screening, and (4) upscaling to less than 250,000 gridblocks for FD flow simulation. Chevron's in-house scaleup software program, SCP, was used for scaleup. SCP employs a single-phase flow-based process for upscaling nonuniform 3D grids. Several iterations of scaleup were made to optimize the result. Sensitivity tests suggest that a uniform scaled-up grid overestimates breakthrough time compared to the fine model, and the post-breakthrough fractional flow also remains higher than in the fine model. However, preserving high-flow-rate layers in a nonuniform scaled-up model was key to matching the front-tracking behavior of the fine model. The scaled-up model was coarsened in areas of low average layer flow because less refinement is needed in these areas to still match the flow behavior of the fine model. The final ratio of pre- to post-scaleup grid sizes was 6:1 for SL and 21:1 for FD simulation. Several checks were made to verify the accuracy of scaleup. These include comparison of pre- and post-scaleup fractional-flow curves in terms of breakthrough time and post-breakthrough curve shape, cross-sectional permeabilities, global porosity histograms, porosity/permeability clouds, visual comparison of heterogeneity, and earth-model and scaled-up volumetrics. The scaled-up models were screened using the 3D SL technique. The results helped in bracketing the flow behavior of different earth models and evaluating the model that better tracks the historical performance data. By initiating the full-field history-matching process with the geologic model that most closely matched the field performance in the screening stage, the amount of history matching was minimized, and the time and effort required were reduced. The application of unrealistic changes to the geologic model to match production history was also avoided. The study suggests that single realizations of "best-guess" geostatistical models are not guaranteed to offer the best history match and performance prediction. Multiple earth models must be built to capture the range of heterogeneity and assess its impact on reservoir flow behavior. Introduction The widespread use of geostatistics during the last decade has offered us both opportunities and challenges. It has been possible to capture vertical and areal heterogeneities measured by well logs and inferred by the depositional environments in a very fine scale with 0.1- to 0.3-m vertical and 20- to 100-m areal resolution (Hobbet et al. 2000; Dashti et al. 2002; Aly et al. 1999; Haldorsen and Damsleth 1990; Haldorsen and Damsleth 1993). It also has been possible to generate a large number of realizations to assess the uncertainty in reservoir descriptions and performance predictions (Sharif and MacDonald 2001). These multiple realizations variously account for uncertainties in structure, stratigraphy, and petrophysical properties. Although impressive, the fine-scale geological models usually run into several millions of cells, and current computing technology limits us from simulating such multimillion-cell models on practical time scales. This requires a translation of the detailed grids to a coarser, computationally manageable level without compromising the gross flow behavior of the original fine-scale model and the anticipated reservoir performance. This translation is commonly referred to as upscaling (Christie 1996; Durlofsky et al. 1996; Chawathe and Taggart 2001; Ates et al. 2003). The other challenge is to quantify the uncertainty while keeping the number of realizations manageable. This requires identifying uncertainties with the greatest potential impact and arriving at an optimal combination to capture the extremes. Further, these models require a screening and ranking process to assess their relative ability to track historical field performance and to help minimize the number of models that can be considered for comprehensive flow simulations (Milliken et al. 2001; Samier et al. 2002; Chakravarty et al. 2000; Lolomari et al. 2000; Albertão et al. 2001; Baker et al. 2001; Ates et al. 2003). In some situations, often a single realization of the best-guess geostatistical model is carried forward for conventional flow simulation and uncertainties are quantified with parametric techniques such as Monte Carlo evaluations (Hobbet et al. 2000; Dashti et al. 2002). Using the case study of this Middle Eastern carbonate reservoir, the paper describes the upscaling, uncertainty management, and SL screening process used to arrive at a single reference model that optimally combines the uncertainties and provides the best history match and performance forecast from full-field flow simulation. Fig. 1 presents the details of the workflow used.

In some contexts, the experience of sound and space are often considered as two unrelated experiences. In an auditorium, the senses of hearing and seeing are not necessary unrelated. This thesis proposes that there is a sensorial relationship between sound and space in the context of symphonic concert halls. Through a study of three auditoria, this thesis explores the relationship, and the degree of correspondence and interaction between auditory and visual spatial impression. It begins by exploring the concepts of auditory and visual spatial impression in relation with auditorium acoustics and architectural design. In auditorium acoustics, a number of terms are used to describe auditory spatial impression, such as �spaciousness,� �envelopment,� and �intimacy.� These terms have connotations beyond the auditory. The thesis suggests that they may also be used to describe visual spatial impression in auditoria. Through textual analyses, the thesis finds that the auditory and visual terms do not always relate to the same physical characteristics of auditoria and can conflict with one another. Hence, it is apparent that further subjective analyses of auditory and spatial impression are needed. Three chapters in this thesis are devoted to auditory and visual subjective experiments. Their purpose is to explore the degree of correspondence or contrast, and interaction between auditory and visual spatial impression. The degree of correspondence and contrast between auditory and visual spatial impression appear to vary between auditoria and within auditoria. The relationship between auditory and visual spatial impression appear to be both necessary and arbitrary, and the degree of interaction between them appear to be strong in some cases and weak in other. From the findings, this thesis suggests that the degree of correspondence or contrast, and interaction between auditory and visual spatial impression could be used to create an audiovisual experience that suit specific musical events. Concert auditoria are culturally and artistically unique spaces. Hence, consideration must be taken to understand the relationships between, and intentions of the acoustical and architectural designs, music and architecture, for a successful and creative collaboration between designers - since the ultimate goal is to create an extraordinary audiovisual experience in a concert hall.

In some contexts, the experience of sound and space are often considered as two unrelated experiences. In an auditorium, the senses of hearing and seeing are not necessary unrelated. This thesis proposes that there is a sensorial relationship between sound and space in the context of symphonic concert halls. Through a study of three auditoria, this thesis explores the relationship, and the degree of correspondence and interaction between auditory and visual spatial impression. It begins by exploring the concepts of auditory and visual spatial impression in relation with auditorium acoustics and architectural design. In auditorium acoustics, a number of terms are used to describe auditory spatial impression, such as 'spaciousness,' 'envelopment,' and 'intimacy.' These terms have connotations beyond the auditory. The thesis suggests that they may also be used to describe visual spatial impression in auditoria. Through textual analyses, the thesis finds that the auditory and visual terms do not always relate to the same physical characteristics of auditoria and can conflict with one another. Hence, it is apparent that further subjective analyses of auditory and spatial impression are needed. Three chapters in this thesis are devoted to auditory and visual subjective experiments. Their purpose is to explore the degree of correspondence or contrast, and interaction between auditory and visual spatial impression. The degree of correspondence and contrast between auditory and visual spatial impression appear to vary between auditoria and within auditoria. The relationship between auditory and visual spatial impression appear to be both necessary and arbitrary, and the degree of interaction between them appear to be strong in some cases and weak in other. From the findings, this thesis suggests that the degree of correspondence or contrast, and interaction between auditory and visual spatial impression could be used to create an audiovisual experience that suit specific musical events. Concert auditoria are culturally and artistically unique spaces. Hence, consideration must be taken to understand the relationships between, and intentions of the acoustical and architectural designs, music and architecture, for a successful and creative collaboration between designers - since the ultimate goal is to create an extraordinary audiovisual experience in a concert hall.