Letteratura scientifica selezionata sul tema "Image du mort"
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Articoli di riviste sul tema "Image du mort":
1
Poda, Evariste. "Image du mort, effigie de l'ancêtre". Systèmes de pensée en Afrique noire, n. 11 (1 dicembre 1991): 91–102. http://dx.doi.org/10.4000/span.1236.
2
Bourion, Sylveline, e Georges Forget. "Identité, création et mort contemporaines". Circuit 15, n. 2 (9 febbraio 2010): 37–54. http://dx.doi.org/10.7202/902355ar.
Abstract (sommario):
L’identité de l’homme, lisible dans chacun des actes de son existence, sera ici abordée par l’observation du dernier d’entre eux : la mort. Quelle image de lui-même projette-t-il, floue et parlante à la fois, sur le mur de la mort d’aujourd’hui? Et cette image concorde-t-elle avec ce que dépeint l’art musical contemporain d’un individu nouveau, changeant, insaisissable, si ce n’est par la matière qu’il ordonne autour de lui? Mort et musique balisent les fins de l’homme — fin de son être, de son entendement — et leur statut de douanières du royaume rend sa parole plus vive, plus certaine peut-être, comme on parle mieux de son pays après l’avoir quitté.
3
Ruellan, Jean. "Image des professionnels de la mort au cinéma". Etudes sur la mort 139, n. 1 (2011): 119. http://dx.doi.org/10.3917/eslm.139.0119.
4
Zhu, Lichao. "image de la mort: approche contrastive chinois, français et anglais". Langues & Parole 6 (22 dicembre 2021): 233–48. http://dx.doi.org/10.5565/rev/languesparole.83.
Abstract (sommario):
L’image de la mort est abordée dans l'article avec une approche contrastive en français, en anglais et en chinois. Nous donnerons des éléments sur les faits culturels, les langues, les littératures et les traductions, afin de témoigner de la représentation de contenus culturels sur la mort d’une langue à une autre.
5
Mavrikakis, Catherine. "L’iconophage mélancolique ou la digestion des images au début du troisième millénaire. Un cas : Timothy McVeigh". Protée 29, n. 3 (12 aprile 2005): 17–25. http://dx.doi.org/10.7202/030634ar.
Abstract (sommario):
Cet article analyse le dispositif des images qui présentent l’exécution, par le gouvernement américain, de Timothy McVeigh. Comment met-on en scène la mort d’un condamné ? Quelle est notre relation à la loi et à l’universalité de la justice par le biais des images ? Existet-il une image iconoclaste qui viendrait briser le scénario préfabriqué des représentations d’une exécution annoncée? Quel deuil est-il possible pour les spectateurs mondiaux du scénario de mise à mort d’un assassin ou d’un terroriste ?
6
Wunenburger, Jean-Jacques. "L’idole au regard de la philosophie des images". Protée 29, n. 3 (12 aprile 2005): 7–16. http://dx.doi.org/10.7202/030633ar.
Abstract (sommario):
L’idole est une image paradoxale : image suprême, autosuffisante, elle inaugure aussi la mort de l’image qui ne vit que d’un rapport de dissemblance dans la ressemblance. Toute la philosophie de l’image en Occident, grecque (chez Platon), chrétienne (dans l’incarnation), moderne (dans l’esthétique du sublime), n’a peut-être fait que commenter ce paradoxe en reprenant sans cesse le patient travail de classification et de hiérarchisation des images afin de les sauver de leur contrefaçon idolâtre.
7
Yu, Xiaohan, Yang Zhao, Yongsheng Gao, Shengwu Xiong e Xiaohui Yuan. "Patchy Image Structure Classification Using Multi-Orientation Region Transform". Proceedings of the AAAI Conference on Artificial Intelligence 34, n. 07 (3 aprile 2020): 12741–48. http://dx.doi.org/10.1609/aaai.v34i07.6968.
Abstract (sommario):
Exterior contour and interior structure are both vital features for classifying objects. However, most of the existing methods consider exterior contour feature and internal structure feature separately, and thus fail to function when classifying patchy image structures that have similar contours and flexible structures. To address above limitations, this paper proposes a novel Multi-Orientation Region Transform (MORT), which can effectively characterize both contour and structure features simultaneously, for patchy image structure classification. MORT is performed over multiple orientation regions at multiple scales to effectively integrate patchy features, and thus enables a better description of the shape in a coarse-to-fine manner. Moreover, the proposed MORT can be extended to combine with the deep convolutional neural network techniques, for further enhancement of classification accuracy. Very encouraging experimental results on the challenging ultra-fine-grained cultivar recognition task, insect wing recognition task, and large variation butterfly recognition task are obtained, which demonstrate the effectiveness and superiority of the proposed MORT over the state-of-the-art methods in classifying patchy image structures. Our code and three patchy image structure datasets are available at: https://github.com/XiaohanYu-GU/MReT2019.
8
Żurawska, Anna. "L’image de la mort ou l’histoire d’une sensibilité. Charlotte de David Foenkinos". Quêtes littéraires, n. 5 (30 dicembre 2015): 213–21. http://dx.doi.org/10.31743/ql.254.
Abstract (sommario):
The aim of the article is to examine the figure of an artist in the novel Charlotte by David Foenkinos. With his text, he desires to pay homage to Charlotte Salomon, a Jewish painter murdered at age twenty-six in Auschwitz. The Salomon’s biography and works became famous thanks to the novel by Foenkinos. The great merit of his book is to make the painter recognizable to a wide public. The interpretation of the text in which central figure is a painter should include a question about the generic status of the novel, thus the reflection about the Künstlerroman, and about the status of the image in the text, the narrative processes used to make the text more plastic, the ekphrasis, etc. The problem seems interesting because Charlotte does not correspond with the traditional definition of the Künstlerroman. The narrator refers the reader to the extradégétique reality in order to make a connection between the reader and Charlotte’s painting; therefore, he focuses his story on the conception of the image and not on the image itself.
9
Rozik, Eli. "Intertextualité et déconstruction". Protée 27, n. 1 (12 aprile 2005): 111–16. http://dx.doi.org/10.7202/030551ar.
Abstract (sommario):
Une série de séquences qui servent à suggérer la mort de Molière constitue l’architecture de cette vidéo. Apparemment, ces plans servent à créer une image englobante de la mort de l’illustre dramaturge – le dernier chapitre de son bio-texte – tel qu’on peut le connaître par les biographies et les livres d’histoire. Mais ces images et ces citations sont en fait des métonymies d’un immense corpus de textes qui, depuis des siècles, remplissent cette fonction cruciale de créer l’image d’un héros culturel, d’un champion de la critique sociale. Cependant, cette interprétation apparemment historique de sa mort est minée par une série d’intertextes, qui viennent jusqu’à inverser l’image établie de Molière. Ces intertextes incluent ses propres comédies, dont Le Malade imaginaire, Dom Juan et Le Tartuffe.
10
Massonnaud, Dominique. "La Mise à mort ou les Mémoires d’un fou". Études littéraires 45, n. 1 (15 luglio 2014): 45–61. http://dx.doi.org/10.7202/1025939ar.
Abstract (sommario):
Résumé La Mise à mort (1965) commence par la fable d’un homme au reflet perdu dans le miroir et s’achève par une image retrouvée qui engendre la folie du personnage. Si on a coutume de considérer que ce roman fait entrer la production fictionnelle d’Aragon dans une sorte de troisième époque, celle des romans métaromanesques influencés par le Nouveau Roman, cet article propose de prolonger l’analyse pour y lire une redéfinition du singulier réalisme aragonien. Réévalué à partir des figures de Stendhal et Flaubert — qu’il convoque — le « mentir-vrai » aragonien apparaît alors comme une forme originale de réalisme subjectif.
Tesi sul tema "Image du mort":
1
Essid, Kaouthar. "Imageries de la mort et art contemporain". Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010739.
Abstract (sommario):
La mort est une réalité qui nous hante et qu'on s'obstine à occulter. Cette hantise de la mort peut-elle en faire un objet d'art ou l'objet d'un art qui tend à réévaluer le statut du corps humain à notre époque ? Il existe une opposition fondamentale entre le corps humain voué à la disparition et la conception contemporaine d'un corps beau et inaltérable. A travers ce memento mori, je traite la mort en tant qu'expression plastique et je soulève le questionnement de sa légitimité en tant que langage pictural. Ma confrontation avec la mort m'a amenée à réaliser des œuvres qui méditent sur l'existence, sur la temporalité et sur la nature du rapport de l'être humain à son corps et sur la mort dans ses diverses connotationsDeath is a fact that persues us inspite of our efforts to dissimulate it. The question seems accordingly to be : can this obsession be turned into an object of art which tends to reconsider the status of the human body in our epoch ? There is an essential opposition between the human body that is doomed to vanish and the contemporary vision of a beautiful and unaltered body. Threoughout this "memento mori", I tried to explore death as a plastic expression which raises the question of its legitimacy as a pictorial language. My confrontation with death allowed me to achieve several works that meditate upon existence, temporality, and the nature of the relationship between the human being and his body, and death in its various connotations
2
Roshem, Sarah Eva. "Prothesis : le corps, la mort et la céroplasticienne". Paris 1, 2003. http://www.theses.fr/2003PA010609.
Abstract (sommario):
Prothésis présente l'usage que nous faisons de la cire à des fins artistiques. Notre thèse expose dans notre première partie, Prothésis, comment la cire a pu servir dans l'histoire des hommes à remplacer le corps d'un mort par un substitut, dans les domaines funéraires et médicaux. Dans la seconde partie, Prothèse, nous démontrons qu'à la question du manque d'une partie du corps, le substitut en cire a permis dans les cadres religieux et médicaux d'apporter une réparation satisfaisante à cette question du corps prothétique. Dans Thèse notre dernière partie, nous soutenons que le substitut en cire que nous utilisons dans notre pratique peut agir encore aujourd'hui sur les consciences dans le champ artistique.
3
Khalilnezhad, Ghavidel Neda. "La mort et son image : de la France à l'Iran. Une étude comparative de la conception de la mort dans les proverbes et sentences latins, français et persans". Thesis, Limoges, 2019. http://www.theses.fr/2019LIMO0127.
Abstract (sommario):
La mort reste une énigme essentielle de la vie humaine et la restera pour toujours du fait qu’elle est une irréalité dont l’homme ne peut aucunement faire l’expérience. Son idée, pour dire autrement, est à ce titre posée en dehors du projet de l’existence, si l’on croit Sartre. Or, un philosophe comme Heidegger la pose même au fin-fond de notre expérience en mettant en avant sa fameuse thèse de l’être-pour-la-mort. Quoiqu’il en soit, la mort étend son royaume partout, depuis la terre au ciel, et demeure d’actualité hier et de nos jours. D’où son omniprésence aussi bien dans les textes des philosophes et penseurs que dans les propos du peuple ; dans les sentences ainsi que dans les proverbes. Ces derniers font justement l’objet de notre thèse. Nous avons en effet essayé de voir l’image que trouve la mort dans ces textes de sentence ou de proverbe, selon qu’elle est exprimée par le persan ou le français ; d’où l’importance qui est également accordée aux espaces culturels différents l’un de l’autre que sont l’Orient et l’Occident. La mort change de visage, nous allons le voir, suivant qu’elle sera traitée sous la plume d’un religieux ou d’un athée. Il est pour ainsi dire question des conceptions ou visions du monde, de la mort en l’occurrence, qui diffèrent d’un espace à l’autre et qui feront désormais, peut-être, l’intérêt des recherches à venir. Notre thèse se veut ainsi une analyse, si ce n’est une histoire, de la mort à travers une étude comparée des proverbes et sentences en langues latine, persane et françaiseDeath remains an essential mystery of human life and will stay so forever since it is an unreality that human cannot experience at all. Its idea, in other words, is something outside the notion of existence, if we believe in Sartre. Where as, a philosopher like Heidegger, has even gone beyond by putting in advance his famous thesis of being-for-death. However, death spreads its kingdom everywhere, from earth to heaven, and remains the reality of yesterday and today. These comprise the subject of this thesis. We have indeed tried to see the picture that death would find in the sentences or proverbs, according to whether it is expressed in Persian or French; hence the importance is equally attached to the cultural differences of the East and the West. Death changes the face; we will see it: following that it will be treated under the pen of a religious or an atheist. This is for the purpose of questioning the concept or vision of the world, of death in this case, which differ from one place to another and who will now, perhaps, be interested in the future research. This thesis is an analysis, if not a story, of death through a comparative study of proverbs and sentences in Latin, Persian and French languages
4
Kim, Mi-Jin. "Pour une image de l’homme, de la vie et de la mort, à partir d’une expérience spirituelle orientale". Paris 1, 1996. http://www.theses.fr/1995PA010627.
Abstract (sommario):
La metempsycose, la philosophie taoiste et bouddhiste, la calligraphie et la peinture du paysage de l'extreme-orient sont les sources de mon experience spirituelle. Par ailleurs beuys, l'arte povera, la trans-avant-garde en italie, le land art que j'ai decouverts en occident, ont inspire mes modes de representation. Le developpement comprend cinq chapitres qui correspondent aux differentes etapes de la vie humaine et de l'oeuvre elle-meme. Dans cette these d'arts plastiques chaque chapitre comprend deux grandes parties pour mieux faire apparaitre la coherence qui existe entre la theorie et la pratique dans mes tableaux. Le premier chapitre "le reve de conception" montre comment le reve annonce l'oeuvre a venir. C'est par la conception que le reve et l'imagination, l'ide, l'esprit forment une demarche de creation analogue au desir d'avoir un enfant. Le deuxieme chapitre "pour une ame et pour la matiere d'un voyage" explicite la symbolique de la forme circulaire qui revient de facon recurrente dans mon oeuvre, et la cohabitation de la matiere orientale et occidentale rendue possible par le mouvement de la forme et l'utilisation conjointe des differentes techniques d'origine orientale ou occidentale. Dans le troisieme chapitre "transmutation de l'espace dans le temps" je montre la relation qui existe dans mes tableaux entre les symboles de l'espace et ceux du temps. Dans le quatrieme chapitre "croisement de culture en peinture", je developpe la reflexion sur mon appartenance a deux cultures differentes, la culture orientale et la culture occidentale. Dans le cinquieme chapitre "humour (s)", j'aborde le probleme du role de l'artiste d'aujourd'hui. J'ai indique le devenir de mes peintures dans ce dernier chapitre. C'est l'humour qui me guidera et m'apportera le plaisir. Je voudrais melanger toutes les emotions humaines, tous les materiaux, avec humour, et creer ainsi de nouveaux mythes et de nouveaux revesMetempsychosis, taoist and buddhist philosophy, calligraphy and landscape painting of far-est are the sources of my spiritual experience. On the other hand, beuys, arte povera, italian trans-avantgarde, and land art, which i have discovered in occident, have inspired my-representation modes the development consists of five chapters corresponding to the different steps of human life and of the work itself. In this thesis of plastic arts, each chapter includes two great parts in order to show better the coherence between theory and pratics in my work. The first chapter "dreame of conception" shows how dream announces the work to come. By this conception, dream and imagination, idea, spirit are the initial step of creation analogous to the desire of a child. The second chapter "for a soul and for the matter of a journey" makes clear the symbolic of the circular form recurrent in my work, and the cohabitation between oriental and occidental matter, made possible by the movement of the from ande combined utilization of different techniques of oriental as well as occidental origin. In the third chapter "transmission of space in tim", i show the relation existing in my paintings between space and time symbols. In the fourth chapter "crossed cultures in painting", i develop the reflexion on my belonging to both different cultures, oriental et occidental. In the fifth chapter, "humour(s), i approach the problem of the role of the artist today. I have indicated the future of my paintings in this last chapter. Humour guides me and brings me pleasure. I wish to mix every human emotion, every material, with humour, and thus create new myths and new dreams
5
Coulombe, Maxime. "Faire du corps une image". Doctoral thesis, Université Laval, 2006. http://hdl.handle.net/20.500.11794/18280.
6
Rinaldi, Riccardo. "Maurice Blanchot et la question de l'image". Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL029.
Abstract (sommario):
La plupart des approches philosophiques de l’œuvre de Maurice Blanchot ont réservé jusqu’à présent une place marginale à la question de l’image. À partir de L’Espace littéraire (1955), pourtant, l’image assume un statut théorique nous permettant de l’appréhender comme la matrice d’une écriture, d’abord partagée entre fiction et critique, qui trouve enfin dans la fragmentation son essor le plus naturel. Loin d’embrasser un nihilisme stérile, Blanchot dégage de la réflexion sur l’œuvre d’art de Heidegger l’idée d’une apparition en tant que disparition, d’une forme invalidant la distinction entre matière et forme, d’une présence qui n’est pas donnée : présence d’une absence. Il en tire une vision radicalement antihumaniste, bien plus cohérente que la conception de l’événement scandant l’histoire des époques de l’Être : venant avant la chose, l’image condamne la conscience du sujet métaphysique en tant que scène exclusive de toute représentation. Le visage de la mort devient le paradigme du regard aveugle que les choses portent sur nous. La littérature se révèle alors préliminaire à une vision autre, qui touche à ce qui précède l’existence de l’homme dans sa globalité, sa finitude s’éparpillant en une approche sans fin de la fin. Laissant de côté les textes politiques de Blanchot, nous avons considéré l’œuvre comme étant prioritaire au destin de l’auteur, que l’écriture emporte et détermine. Moins structurée que celle de Heidegger, elle s’avère finalement plus appropriée pour être lue à travers « l’optique » suggérée dans la Lettre sur l’humanisme : l’on ne peut concevoir une éthique, en tant que pensée de l’humanisme, si nous n’avons pas au préalable redéfini ce qu’est l’humanitas de l’hommeMost philosophical approaches to Maurice Blanchot's work have hitherto reserved a marginal place for the question of image. Since L'Espace littéraire (1955), however, image assumes a theoretical status that enables us to apprehend it as the matrix of his writing that, initially divided between fiction and criticism, finally achieves its most natural thriving in fragmentation.Far from embracing a sterile nihilism, Blanchot derives from Heidegger’s reflection on art the idea of an appearance as disappearance, of a form invalidating the distinction between matter and form; a presence which is not given: the presence of an absence. He draws from it a radically anti-humanist vision, much more coherent than the conception of the event defining the history of the epochs of the Being: coming before the thing, image condemns the consciousness of the metaphysical subject as the exclusive stage of all representation. The face of death becomes the paradigm of the blind gaze that things lay upon us. Hence, literature proves to be preliminary to a different vision, one that touches on what precedes man’s existence as a whole, his finitude being scattered in an endless approach of the end.Leaving aside the political texts of Blanchot, I have considered the œuvre as a priority in the author’s fate, which is overcome and determined by writing. Less structured than Heidegger's, Blanchot’s work proves finally more suited to be read through the perspective suggested in the Letter on Humanism: we cannot conceive an ethics, as a thought of humanism, if we have not previously redefine what the humanitas of man is
7
Pietri, Nicole. "La photographie comme sépulture". Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080049.
Abstract (sommario):
Depuis le début de l’humanité, l’homme a pris soin de ses morts, tandis que les relations de la Mort à la photographie commencent au milieu du XIXème siècle avec l’invention de la photographie. La Mort suppose un corps mort dont on se doit de prendre soin en lui donnant une sépulture. Telle que nous la concevons, la sépulture est un dépôt intentionnel qui montre, par cet acte, l’attention que l’on porte au mort, qui conserve ainsi sa part d’humanité dans la Mort, c’est-à-dire précisément, ce que la sépulture se devrait de protéger. En proposant d’interroger les relations de la Mort à l’image du mort, à partir de la photographie et à l’aune de la sépulture, le propos de ce travail de recherche ne serait pas tant de savoir ou d’affirmer que la photographie est ou non une sépulture, mais comment la photographie peut interroger la notion même de sépulture. En retour, nous nous demandons, à partir de la sépulture, comment celle-ci serait susceptible d’induire un questionnement vis-à-vis de la photographie. La photographie comme sépulture, suppose de rapprocher la photographie de la sépulture, et d’envisager comment la photographie pourrait répondre à ce que l’on pourrait attendre d’une sépulture. À une autre échelle, nous nous demandons s’il serait possible de voir ce qui relèverait de la sépulture dans la photographie analogique à partir de l’œuvre de Christian Boltanski qui apparaît comme le fil directeur de ce travail de thèse. Parmi tous les artistes photographes qui nourrissent et guident cette réflexion, Boltanski, sans être photographe, a un cheminement artistique qui l’a conduit à se tourner vers la photographie et à réaliser des sépultures, des Monuments funéraires. Il nous offre un éclairage particulier pour aborder à la fois la photographie et la sépulture. C’est en croisant les disciplines, les points de vue, ce qui se voit et ce qui ne se voit pas, ce qui se dit et ce qui se murmure que cette thèse se donne à lire dans un tissage entre implicite et expliciteSince the beginning of mankind, man has been taking care of his dead ones, while the relationship between death and photography began in the middle of the 19th century with the invention of photography. Death supposes a dead body that one takes care of by giving it a burial. As we conceive it, burial is an intentional deposition which shows, by this act, the attention that one draws to the dead one that keeps its humanity in Death. Preservation of humanity is precisely what should be protected through burial. By proposing to question the relationship between Death and the image of the dead one, starting from photography and in the light of burial, the purpose of this research work would not be so much to know or to affirm that photography is or is not a burial, but how photography can question the very notion of burial. In return, we ask ourselves, starting from burial, how burial would be likely to induce a questioning towards the photography. Photography as a burial, supposes to bring photography closer to burial, and to consider how photography could respond to what one could expect from a burial. On a different scale, we question whether it would be possible to see what would be related to the burial in analogue photography from the work of Christian Boltanski which appears as the guiding thread of this thesis. Among all the artist-photographers who feed and guide this reflection, Boltanski, without being a photographer, has an artistic path that led him to turn to photography and create burials, funerary monuments. He offers a particular insight to approach both photography and burial. By crossing disciplines, points of view, what is seen and what is not seen, what is said and what is whispered, this thesis should be read as a weaving between implicit and explicit
8
Maillard, Benoît. "Clinique de la maladie létale : de l'effraction corporelle à la réponse du sujet". Phd thesis, Université Rennes 2, 2010. http://tel.archives-ouvertes.fr/tel-00599280.
Abstract (sommario):
Nous interrogeons la clinique de la maladie létale. Cette recherche porte sur les incidences subjectives de la confrontation à la maladie létale telles qu'elles apparaissent dans la parole du sujet. Si la maladie est d'abord une rupture de " la vie dans le silence des organes ", l'altération corporelle se double ici du risque de la mort. Les registres du corps et de la mort fondent le sol de ce champ clinique. Nous commencerons par préciser les coordonnées métapsychologiques de ces registres en les situant dans un dédoublement. En effet, si pour Freud l'inconscient ignore la mort, n'est-elle pas un élément nécessaire à la loi symbolique du langage ? De même, la réalité organique qui demeure en grande partie inaccessible pour le sujet n'est-elle pas un élément nécessaire à la construction de l'altérité ? Nous montrerons que le corps et la mort définissent des fonctions structurantes pour le sujet sur fond d'une ignorance déterminante. Le surgissement de la maladie létale vient modifier et désarticuler ces fonctions. Comment le sujet va-t-il pouvoir répondre ? La présentation d'une série de sept fragments cliniques, issus de notre pratique institutionnelle, permettra une exploration des modalités de réponse du sujet à l'effraction corporelle de la maladie létale. C'est le mouvement et la translation qui s'opèrent de la rupture à la réponse, de la suspension à la parole, de l'événement au dire qui lui succède dans la relation transférentielle qui sont ici étudiés. Au plus près de la menace de la mort et de l'atteinte corporelle, c'est l'émergence et la persistance du sujet parlant qui se donnent à entendre.
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Cappelaere, Charles-Henri. "Estimation du risque de mort subite par arrêt cardiaque à l'aide de méthodes d'apprentissage artificiel". Phd thesis, Université Pierre et Marie Curie - Paris VI, 2014. http://pastel.archives-ouvertes.fr/pastel-00939082.
Abstract (sommario):
On dénombre plus de 40 000 cas de morts subites en France, chaque année. Depuis le début des années 2000, le défibrillateur automatique implantable (DAI) est prescrit de manière prophylactique aux populations à risque. Nombre de ces implantations semblent prématurées : une étude récente a révélé que 81% des DAI implantés chez les patients étudiés n'ont jamais délivré de thérapie pendant les cinq années suivant l'implantation. Cette constatation soulève un problème en raison des complications post-opératoires encourues par les patients porteurs d'un défibrillateur implantable. Avec la rupture de sonde, les chocs électriques engendrés inutilement (c'est-à-dire lorsque la vie du patient n'est pas menacée) par le défibrillateur sont les complications les plus fréquentes : des études ont montré que 13% à 17% des patients porteurs d'un défibrillateur implanté ont subi au moins un choc inutile, susceptible de fragiliser le tissu cardiaque. Il apparaît donc important de mieux définir la population à risque de mort subite, afin d'optimiser la sélection des patients candidats. Le pouvoir prédictif de mort subite des différents descripteurs des enregistrements électrocardiographiques de longue durée (Holter) a fait l'objet de nombreuses études univariées, sans permettre d'amélioration des critères de sélection. Dans ce mémoire, nous présentons l'analyse multivariée des descripteurs de l'enregistrement Holter que nous avons menée. Nous avons extrait l'ensemble des descripteurs calculables sur la base étiquetée d'enregistrements Holter de patients, victimes ou non d'arythmies traitées par le DAI, dont nous disposons. En mettant à profit les connaissances physiologiques sur l'arythmogenèse, nous avons réalisé une sélection des descripteurs les plus pertinents. Puis, à l'aide d'une méthode originale de conception et d'évaluation de classifieur, nous avons construit un classifieur ad hoc, basé, lui aussi, sur les connaissances physiologiques de l'arythmogenèse ; ce classifieur discrimine les patients à risque (pour lesquels il recommande l'implantation), des patients pour lesquels l'implantation ne paraît pas opportune. À l'issue de notre étude, et au vu des performances atteintes, il semble possible d'améliorer la fiabilité des indications d'implantation prophylactique, à l'aide de méthodes d'apprentissage statistique. Pour valider cette conclusion, il paraît néanmoins nécessaire d'appliquer la méthode exposée dans la présente étude à une base de données de plus grande dimension, et de contenu mieux adapté à nos objectifs.
10
Kim, Seonja. ""L'image fantôme" chez Hervé Guibert". Paris 12, 2004. https://athena.u-pec.fr/primo-explore/search?query=any,exact,990003948580204611&vid=upec.
Abstract (sommario):
Nous avons étudié le concept de " l'image fantôme " dans les oeuvres littéraires et photographiques d'Hervé Guibert, journaliste, écrivain et photographe français (1959-1991). Notre objectif a été de montrer que l'image fantôme, qui est. Selon l'auteur, une représentation mentale et littéraire, apparaît aussi dans ses photographies. Nous avons décrit l'image fantôme comme un support de mémoire, rendant visible une photographie pourtant non réalisée. L'image fantôme se situe par conséquent entre deux systèmes de représentations parallèles, le littéraire et le photographique. C'est ce qui nous a conduite à 1'exploration de l'oeuvre photographique de Guibert où nous avons observé le dédoublement narcissique de l'auteur en le reliant à l'image du fantôme. Pour comprendre ces oeuvres, où Guibert semble réussir à représenter l'invisible, nous les avons interprétées ici sous la catégorie du sublime métaphysique. A la recherche d'un au-delà, Guibert semble se transformer lui-même en une image fantômeWe studied the concept of the "ghost image" in literary and photographic works of Hervé Guibert, a French journalist, writer and photographer (1955-1991). Our objective was to show that the ghost image, which is, according to the writer, a mental et literary representation, appears also in his photographies. We descrihed the ghost image as a backup of memory, making visible a photography however flot realized. The ghost image is situated in consequence hctween two systems of parallel representations, the literay and the photographic. It is what led us to the exploration of Guibert's photographie works where we observed the auhor's narcissistic split personality linking it to the image of the ghost. For the best comprehension of these works, where Guibert seems to succeed in representing the invisible, we interpreted them here under the category of the metaphysical sublime. In pursuit of a hereafter, Guibert seems to be transformed into a ghost image
Libri sul tema "Image du mort":
1
Debray, Régis. Vie et mort de l'image: Une histoire du regard en Occident. [Paris]: Gallimard, 1992.
2
Hubmann, Verena. L' image de la mort: Über die mort civile und ihre Abschaffung im französischen Recht und ihre Nachbildungen in den Kantonen Waadt und Wallis. Zürich: Schulthess, 1990.
3
Bertman, Sandra L. Facing death: Images, insights, and interventions : a handbook for educators, healthcare professionals, and counselors. New York: Hemisphere, 1991.
4
Smith, George Edmond. More than sex: Reinventing the black male image. New York: Kensington Books, 2000.
5
McDowell, Josh. His image, my image: Seeing yourself as God sees you - no more, no less. San Bernardino, Calif: Here's Life, 1989.
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McDowell, Josh. His image, my image: Seeing yourself as God sees you - no more, no less. San Bernardino, Calif: Here's Life, 1989.
7
1947-, Nelson Robert S., Collins Kristen M e J. Paul Getty Museum, a cura di. Holy image, hallowed ground: Icons from Sinai. Los Angeles: J. Paul Getty Museum, 2006.
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Cappai, Chiara De Filippis. Imago mortis: L'uomo romano e la morte. Napoli: Loffredo, 1997.
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Druet, François-Xavier. Langage, images et visages de la mort chez Jean Chrysostome. Namur: Société des études classiques, 1990.
10
Great Britain. Audit Commission for Local Authorities and the National Health Service in England and Wales. Improving your image: How to manage radiology services more effectively. London: H.M.S.O., 1995.
Capitoli di libri sul tema "Image du mort":
1
Hobbs, Jim. "Nature Morte". In Sound and Image, 219–25. New York : Routledge, 2020. | Series: Sound design: Focal Press, 2020. http://dx.doi.org/10.4324/9780429295102-15.
2
Citton, Yves. "Image-représentation versus image-transaction". In Angles morts du numérique ubiquitaire, 225–26. Nanterre: Presses universitaires de Paris Nanterre, 2023. http://dx.doi.org/10.4000/11toq.
3
Blanc, N., P. Giffard, P. Seitz, P. Buchschacher, V. Nguyen e M. Hoheisel. "Semiconductor Image Sensing". In More than Moore, 239–78. Boston, MA: Springer US, 2009. http://dx.doi.org/10.1007/978-0-387-75593-9_8.
4
Schnugg, Claudia. "Friction gains in art & science collaboration: more than noise". In Image, 176–90. Bielefeld, Germany: transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839465165-021.
5
Sharan, Kishori, e Peter Späth. "Custom Runtime Images". In More Java 17, 893–909. Berkeley, CA: Apress, 2021. http://dx.doi.org/10.1007/978-1-4842-7135-3_13.
6
Chung, Youngsun, Daeyoung Gil e Ghang Lee. "Optimal Number of Cue Objects for Photo-Based Indoor Localization". In CONVR 2023 - Proceedings of the 23rd International Conference on Construction Applications of Virtual Reality, 977–87. Florence: Firenze University Press, 2023. http://dx.doi.org/10.36253/10.36253/979-12-215-0289-3.98.
Abstract (sommario):
Building information modeling (BIM) is widely used to generate indoor images for indoor localization. However, changes in camera angles and indoor conditions mean that photos are much more changeable than BIM images. This makes any attempt at localization based on the similarity between real photos and BIM images challenging. To overcome this limitation, we propose a reasoning-based approach for determining the location of a photo by detecting the cue objects in the photo and the relationships between them. The aim of this preliminary study was to determine the optimal number of cue objects required for an indoor image. If there are too few cue objects in an indoor image, it results in an excessive number of location candidates. Conversely, if there are too many cue objects, the accuracy of object detection in an image decreases. Theoretically, a larger number of cue objects would improve the reasoning process; however, too many cue objects could lead to declining object detection performance. The experimental results demonstrated that of two to five cue objects, three cue objects is most likely to yield optimal performance
7
Chung, Youngsun, Daeyoung Gil e Ghang Lee. "Optimal Number of Cue Objects for Photo-Based Indoor Localization". In CONVR 2023 - Proceedings of the 23rd International Conference on Construction Applications of Virtual Reality, 977–87. Florence: Firenze University Press, 2023. http://dx.doi.org/10.36253/979-12-215-0289-3.98.
Abstract (sommario):
Building information modeling (BIM) is widely used to generate indoor images for indoor localization. However, changes in camera angles and indoor conditions mean that photos are much more changeable than BIM images. This makes any attempt at localization based on the similarity between real photos and BIM images challenging. To overcome this limitation, we propose a reasoning-based approach for determining the location of a photo by detecting the cue objects in the photo and the relationships between them. The aim of this preliminary study was to determine the optimal number of cue objects required for an indoor image. If there are too few cue objects in an indoor image, it results in an excessive number of location candidates. Conversely, if there are too many cue objects, the accuracy of object detection in an image decreases. Theoretically, a larger number of cue objects would improve the reasoning process; however, too many cue objects could lead to declining object detection performance. The experimental results demonstrated that of two to five cue objects, three cue objects is most likely to yield optimal performance
8
Winarnita, Monika Swasti, Petra Mahy e Nicholas Herriman. "Fate, Desire, and Shame: Janda in Indonesian Pop Culture". In Gender, Islam and Sexuality in Contemporary Indonesia, 125–43. Singapore: Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-99-5659-3_7.
Abstract (sommario):
AbstractResearch on images of femininityin Indonesia has largely focused on either the image of femininity produced by the state or, relatively, high-brow cultural forms of femininity. However, popular culture produces images of females that often stand in contrast to such symbolism. This article contends that the janda, the divorcee or widow, one of the foremost images of femininity in popular music, drama, and literature, has been, for the most part, overlooked. Seen as sexually available and lascivious, the janda represents the “fallen woman”; an object of both fascination and pity. This article analyses the janda image as one of the foremost symbols in Indonesian popular culture. It is argued that the janda image must be analysed in relation to maiden and mother images. Furthermore, culturally specific ideas of desire, fate, and shame contextualise the janda image. As will become apparent, Indonesian popular culture is patriarchal, and a heterosexual male perspective frames much of the symbolism. This means that actual women live with the very real stigma of being a divorcee or a widowin Indonesia. In this study, we focus on the janda image and include discussion of how its representation has evolved to include a cosmopolitan ideal.
9
Cupa, Dominique. "Le paradoxe du père mort". In Image du père dans la culture contemporaine, 157. Presses Universitaires de France, 2008. http://dx.doi.org/10.3917/puf.cupa.2008.01.0157.
10
Murphy, Cullen. "Mort Walker, Historian". In Comic Art in Museums, 152–54. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0014.
Abstract (sommario):
This chapter includes a 2017 tribute to Mort Walker (Beetle Bailey, Hi & Lois) after his passing, by Cullen Murphy, author of the book Cartoon County: My Father and His Friends in the Golden Age of Make-Believe. This chapter discusses the founding of the Museum of Cartoon Art and Walker’s determination to gain recognition for comic artists, and his efforts at the preservation of original comic art drawings. This chapter explains how Mort began collecting comics drawings as a youth and the importance of comics as a cultural record. Image: art print of Beetle Bailey and Sarge.
Atti di convegni sul tema "Image du mort":
1
Hou, Kejun, Zuoan Zhao, Gensheng Ni, Gamal Sultan, Bo Liu e Tianhua Zhang. "Correlation of Borehole Images in Conductive and Non-Conductive Muds to Understand Carbonate Heterogeneity: Case Study from Sichuan Basin, China". In Middle East Oil, Gas and Geosciences Show. SPE, 2023. http://dx.doi.org/10.2118/213230-ms.
Abstract (sommario):
Abstract The heterogeneous carbonate reservoir is the most important exploration target in Sichuan basin. It is challenging to identify the potential flow units in the tight carbonate reservoir. High-resolution borehole resistivity image can reveal the dissolution features such as vugs or fractures in the pay zone. Operators in Sichuan Basin have acquired lots of borehole resistivity image using water-based mud imager in key exploration wells to identify potential reservoir. The oil-based mud has become increasingly popular in exploration and development because it reduces complex drilling practices reducing drilling costs. The new generation oil-based imager is used in these new wells. The borehole resistivity image can be obtained from both OBM (oil base mud) imager and WBM (water base mud) imagers. It is important to understand the response differences through the comparisons between different borehole imaging technologies in the same wellbore. The objective of this study is to understand the responses and refine the rule of oil-based mud borehole image interpretation in tight carbonate reservoir. The operator has logged both WBM and OBM imager in the same wellbore at different times. The WBM resistivity image is acquired in water-base mud conditions in the beginning. Then drilling fluid system was changed to OBM, and 200 meters were drilled further in the borehole. Finally, the OBM imager was logged in the hole. A comparison between the WBM resistivity images and OBM resistivity images are carried out. Increased understandings of the image log responses in this vuggy or fractured carbonated reservoir were obtained. The borehole resistivity image from WBM and OBM imager is highly correlatable over most of the logging interval as they both show similar resistivity response (bright / dark) on both images for the same geologic feature. The new generation OBM resistivity imager is proven to have similar applications as the WBM resistivity could offer. In fact, the OBM borehole images has higher resolution than the WBM borehole image in most of the intervals, especially in high resistivity formations. It was found that the responses of vugs or fractures can be interpreted slightly different in some intervals. Only the unfilled vug will have resistive response in OBM image while it will be very conductive in the WBM image because it was invaded by the resistive or conductive mud. The responses of induced fractures or natural fractures will be slightly different, which is influenced by formation conditions such as Rt/Rm. The induced fracture could be conductive or resistive under different logging conditions. This case study improved the understandings of the OBM imager response in tight carbonate reservoirs. These observations can be used as a reference for borehole image interpretation in similar reservoirs.
2
Mao, Yuzhao, Chang Zhou, Xiaojie Wang e Ruifan Li. "Show and Tell More: Topic-Oriented Multi-Sentence Image Captioning". In Twenty-Seventh International Joint Conference on Artificial Intelligence {IJCAI-18}. California: International Joint Conferences on Artificial Intelligence Organization, 2018. http://dx.doi.org/10.24963/ijcai.2018/592.
Abstract (sommario):
Image captioning aims to generate textual descriptions for images. Most previous work generates a single-sentence description for each image. However, a picture is worth a thousand words. Single-sentence can hardly give a complete view of an image even by humans. In this paper, we propose a novel Topic-Oriented Multi-Sentence (\emph{TOMS}) captioning model, which can generate multiple topic-oriented sentences to describe an image. Different from object instances or attributes, topics mined by the latent Dirichlet allocation reflect hidden thematic structures in reference sentences of an image. In our model, each topic is integrated to a caption generator with a Fusion Gate Unit (FGU) to guide the generation of a sentence towards a certain topic perspective. With multiple sentences from different topics, our \emph{TOMS} provides a complete description of an image. Experimental results on both sentence and paragraph datasets demonstrate the effectiveness of our \emph{TOMS} in terms of topical consistency and descriptive completeness.
3
Mema, Laureta. "Les métaphores de l’eau dans Les Fleurs du Mal de Charles Baudelaire". In XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.3798.
Abstract (sommario):
Le langage poétique Baudelairien doit « imposer tous les temps et tous les univers » (Bénédiction) en intériorisant l’univers, y compris le conscient et l’inconscient, la vie et la mort entrant en rapport avec lui, pour que le monde humain brise ses vitres et que le poète puisse regarder au-delà pour en sortir « du nouveau ». Nous allons arrêter notre regard dans le processus de la métamorphose de l’eau (un élément important pour Baudelaire qui se transforme souvent en mer) pour naviguer premièrement dans le désir érotique et deuxièmement dans une destinée humaine existentielle. Le désir érotique du poète dépendra de l’eau, affin de quitter le monde terrestre et trouver son île paradisiaque où il pourra protéger sa vie amoureuse (« L’Invitation au Voyage »). Mais de l’autre coté, l’eau miroitera le désespoir du poète qui est destinée à aimer la femme corrompue, infernale (« Moesta et Arrabunda », « Un voyage à Cythère »). À part le désir érotique, on verra que les métaphores de l’eau surgissent et tourbillonnent quand le poète médite à la destinée humaine. Les métaphores de l’eau essayent d’expliquer la fatalité de la vie malheureuse du poète (« L’Ennemie », « Le Cygne ») ou ils viennent à l’aide pour le consoler, en lui renvoyant sa propre image (« L’Homme et la Mer »). DOI: http://dx.doi.org/10.4995/XXVColloqueAFUE.2016.3798
4
Manuaba, Ida Bagus Gede Hermawan, Mohammad Kadhem Aljishi, Nicklas Ritzmann e Mohamed Gouda. "Advanced Corrections of LWD High-Resolution Resistivity Images in Hostile Downhole Environments". In International Petroleum Technology Conference. IPTC, 2024. http://dx.doi.org/10.2523/iptc-23991-ms.
Abstract (sommario):
Abstract High-resolution resistivity images can be impacted negatively by several factors, especially in high-conductive water-based mud (WBM) systems. Additionally, borehole and drilling environmental parameters like elevated levels of drilling dynamics, multiple rotation regimes of the drill string, the logging while drilling (LWD) imager's eccentricity and excessive salinity are major factors, if uncontrolled while drilling, can result in severe image quality degradation. Even though such control is desired, it is not always possible. To overcome these conditions and their related artefacts, this article demonstrates a recently developed correction method to restore an acceptable definition of fine features from such heavily affected images. The implemented, multi-stage, correction methodology is based on the LWD raw image dataset and comprises a series of sequential corrections based on the examined environmental artefacts and their severities. The image correction is conducted in a strict order to take most effect. For full transparency of the correction, all intermediate steps are available for quality control purposes and enables the user to potentially improve certain correction steps if required. The final correction level is one image with the most detail restored possible, honoring the data contained in the raw dataset. This study focuses on the specific objective of identifying fine structural features in slim lateral boreholes, drilled through carbonate reservoirs under uncontrolled and unfavorable environmental challenges. These conditions are a challenge for high-resolution LWD resistivity imager data. The outcome of the correction methodology results in a remarkably sharper definition of fractures and faults (high-dip and high-contrast features) and reduction of the artefacts of LWD imager/string eccentricity effects. In addition, recovery of most of the lost information caused by severe drilling dynamics and associated image dataset spike artefacts. A comparison of structural features from the final corrected LWD image dataset to wireline (WL) imager was conducted and good repeatability was concluded between both different technologies with similar WBM salinity properties. The methodology enables the LWD WBM high-resolution resistivity imagers to deliver up to standard image quality in extreme downhole drilling and environmental conditions.
5
Xie, Ruobing, Zhiyuan Liu, Huanbo Luan e Maosong Sun. "Image-embodied Knowledge Representation Learning". In Twenty-Sixth International Joint Conference on Artificial Intelligence. California: International Joint Conferences on Artificial Intelligence Organization, 2017. http://dx.doi.org/10.24963/ijcai.2017/438.
Abstract (sommario):
Entity images could provide significant visual information for knowledge representation learning. Most conventional methods learn knowledge representations merely from structured triples, ignoring rich visual information extracted from entity images. In this paper, we propose a novel Image-embodied Knowledge Representation Learning model (IKRL), where knowledge representations are learned with both triple facts and images. More specifically, we first construct representations for all images of an entity with a neural image encoder. These image representations are then integrated into an aggregated image-based representation via an attention-based method. We evaluate our IKRL models on knowledge graph completion and triple classification. Experimental results demonstrate that our models outperform all baselines on both tasks, which indicates the significance of visual information for knowledge representations and the capability of our models in learning knowledge representations with images.
6
Yang, S., Y. Wang e C. Shrivastava. "Sedimentary Analysis Via Automatic Image Segmentation and Clustering with the LWD OBM Resistivity Image: A Case Study from Gulf of Mexico". In SPE Annual Technical Conference and Exhibition. SPE, 2023. http://dx.doi.org/10.2118/214908-ms.
Abstract (sommario):
Abstract Microfacies analysis is the first step for depositional environment interpretation and sand body prediction. Textural details from borehole images are building blocks for facies analysis, representing different paleo sediimentation conditions. Associated workflows have been applied on high resolution borehole images by geologists and log analysts manually. Automation via machine learning solutions provides an opportunity to improve the working efficiency and accuracy. Such an approach has given satisfactory results with post-drilling wireline images. In this paper, the improved workflow for sedimentary analysis was applied and validated with a logging-while-drilling (LWD) resistivity imager in oil-based mud environment (OBM). The OBM LWD resistivity image in oil-based mud provides 72 data points at single depth from 4 different frequencies of electromagnetic measurements with a patented processing. The non-gap resistivity image gives more confident texture characterization. The continuous histogram and correlogram derived from image data were used for image segmentation. In each image segmentation, multiple vector properties were extracted from image data representing different texture features including adoptive variogram horizontally. Agglomerative clustering was selected for its stability and repeatability. The internally built dendrogram allows to automatically determine the number of clusters by finding a stable distance between the clusters’ hierarchy branches. In addition to the features extracted from image data, optional petrophysical logs with variable weights may be fed to the algorithm for a better classification. A case study from Gulf of Mexico is being used to demonstrate this workflow with Hi-Res LWD image. More than 10 different sedimentary geometries were classified automatically from image and petrophysical logs. The microfacies were named manually from sedimentary geometries with the related geological concept accordingly. The fluvial channel and delta sedimentary environment were interpretated finally from microfacies association. The interpretation results were compared and validated with published dips-based solution as well. This is the first time for the automatic borehole image segmentation with LWD OBM images. The working efficiency was improved a lot through this workflow and the accuracy of microfacies interpretation was guaranteed by machine learning solution.
7
Cho, Soojin, e Byunghyun Kim. "Image-driven Bridge Inspection Framework using Deep Learning and Image Registration". In IABSE Conference, Seoul 2020: Risk Intelligence of Infrastructures. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2020. http://dx.doi.org/10.2749/seoul.2020.269.
Abstract (sommario):
<p>This paper proposes an image-driven bridge inspection framework using automated damage detection using deep learning technique and image registration. A state-of-the-art deep learning model, Cascade Mask R-CNN (Mask and Region-based Convolutional Neural Networks) is trained for detection of cracks, which is a representative damage type of bridges, from the images taken from a bridge. The model is trained with more than a thousand training images containing cracks as well as crack-like objects (hard negative samples). The images taken from a test bridge are input to a deep learning model trained to detect damages, which is further mapped on a large image of each bridge component registered using a commercial registration software. The performance of the proposed framework is evaluated on piers of existing bridges, whose external appearance was imaged using a DSLR with a telescopic lens. The results are compared with the conventional visual inspection to analyse the performance and applicability of the proposed framework.</p>
8
Hoffmann, Rolf. "A High Quality Image Stitching Process for Industrial Image Processing and Quality Assurance". In OCM 2021 - 5th International Conference on Optical Characterization of Materials. KIT Scientific Publishin, 2021. http://dx.doi.org/10.58895/ksp/1000128686-18.
Abstract (sommario):
The size of the recording area of a camera is limited. The resolution of a camera image is also limited. To capture larger areas, a wide angle lens can be used, for example. However, the image resolution per unit area decreases. The decreased image resolution can be compensated by image sensors with a higher number of pixels. However, the use of a high pixel number of image sensors is limited to the current state of the art and availability of real image sensors. Furthermore the use of a wide angle lens has the disadvantage of a stronger distortion of the image scene. Also the viewing direction from a central location is usually problematic in the outer areas of a wide angle lens. Instead of using a wide angle lens, there is still the possibility to capture the large image scene with several images. This can be done either by moving the camera or by using several cameras that are positioned accordingly. In case of multiple image captures, the single use of the required image is a simple way to evaluat e a limited area of a large image scene with image processing. For example, it can be determined whether a feature limited by the size is present in the image scene. The use of this simple variant of a moving camera system or the use of single images makes it difficult or even impossible to use some image processing options. For example, determining the positions and dimensions of features that exceed a single image is difficult. With moving camera systems, the required mechanics add to the effort, which is subject to wear and tear and introduces a time factor. Image stitching techniques can reduce many of these problems in large image scenes. Here, single images are captured (by one or more cameras) and stitched together to fit. The original smaller single images are merged into a larger coherent image scene. Difficulties that arise here and are problematic for the use in industrial image processing are, among others: the exact positioning of the single images to each other and the actual joining of the imag es, if possible without creating disturbing artifacts. This publication is intended to make a contribution to this.
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Bodoh, Dan J. "Making the Most of the Internet for Failure Analysis". In ISTFA 1998. ASM International, 1998. http://dx.doi.org/10.31399/asm.cp.istfa1998p0323.
Abstract (sommario):
Abstract The growth of the Internet over the past four years provides the failure analyst with a new media for communicating his results. The new digital media offers significant advantages over analog publication of results. Digital production, distribution and storage of failure analysis results reduces copying costs and paper storage, and enhances the ability to search through old analyses. When published digitally, results reach the customer within minutes of finishing the report. Furthermore, images on the computer screen can be of significantly higher quality than images reproduced on paper. The advantages of the digital medium come at a price, however. Research has shown that employees can become less productive when replacing their analog methodologies with digital methodologies. Today's feature-filled software encourages "futzing," one cause of the productivity reduction. In addition, the quality of the images and ability to search the text can be compromised if the software or the analyst does not understand this digital medium. This paper describes a system that offers complete digital production, distribution and storage of failure analysis reports on the Internet. By design, this system reduces the futzing factor, enhances the ability to search the reports, and optimizes images for display on computer monitors. Because photographic images are so important to failure analysis, some digital image optimization theory is reviewed.
10
Zhang, Guimei, Binbin Chen e YangQuan Chen. "Research on Image Matching Combining on Fractional Differential With Scale Invariant Feature Transform". In ASME 2015 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2015. http://dx.doi.org/10.1115/detc2015-47015.
Abstract (sommario):
Image matching is one of the most important problems in computer vision. Scale Invariant Feature Transform (SIFT) algorithm has been proved to be effective for detecting features for image matching. However SIFT algorithm has limitation to extract features in textile image or self-similar construction image. Fortunately fractional differentiation has advantage to strengthen and extract textural features of digital images. Aiming at the problem, this paper proposes a new method for image matching based on fractional differentiation and SIFT. The method calculates the image pyramid combining the Riemann-Liouville (R-L) fractional differentiation and the derivative of the Gaussian function. Thus image feature has been enhanced, and more feature points can be extracted. As a result the matching accuracy is improved. Additionally, a new feature detection mask based on fractional differential is constructed. The proposed method is a significant extension of SIFT algorithm. The experiments carried out with images in database and real images indicate that the proposed method can obtain good matching results. It can be used for matching textile image or some self-similar construct image.
Rapporti di organizzazioni sul tema "Image du mort":
1
Heger, Karl, Timm Schoening e Claas Faber. MariQT. GEOMAR, dicembre 2022. http://dx.doi.org/10.3289/sw_4_2022.
Abstract (sommario):
Image Quality control / quality assurance and curation Tools (IQT) conceptualised and developed by the MareHub working group on Videos/Images (part of the DataHub, a research data manangement initiative by the Helmholtz association). The MarIQT core is a python package which is helpful on its own but is key to the more user-friendly jupyter notebooks that make extensive use of the python package.
2
Decroux, Agnes, Kassem Kalo e Keith Swinden. PR-393-205100-R01 IRIS X-Ray CT Qualification for Flexible Pipe Inspection (Phase 1). Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), marzo 2021. http://dx.doi.org/10.55274/r0012068.
Abstract (sommario):
There are several techniques available to inspect single wall carbon steel pipelines including; Magnetic flux leakage (MFL), ultrasonic testing (UT), Electro-Magnetic Acoustic Transducer (EMAT), Phased Array, guide wave testing (GWT), etc. However, for more complex structures such as flexible pipelines the technology available to inspect them is far more limited. PRCI commissioned a program (SPIM 2-1) under the Subsea TC (2017-2020) to evaluate all known and suspected technologies that could be used to provide a detailed subsea inspection of a flexible riser. PRCI produced four samples of flexible pipe containing pre-manufactured cracks and corrosion defects which were located in; the outer armour layer, inner armour layer, pressure vault and carcass. The samples were used for blind testing of all identified inspection technologies. On conclusion of the SPIM 2-1 program, HR-XCT was identified as the technology showing the most promise and a follow-on program (SPIM 2-2) was commissioned to further explore the capabilities. This report will show the way in which high resolution image clarity and image manipulation was extracted from the HR-XCT system when used on the PRCI flexible pipe samples. The XCT results from SPIM 2-2 will be presented to show the initial setup of the experiment and 2D and 3D high resolution sectioned images from the testing. These images clearly identify and characterize 100% of the pre-manufactured defects introduced into the samples in all layers.
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Rigotti, Christophe, e Mohand-Saïd Hacid. Representing and Reasoning on Conceptual Queries Over Image Databases. Aachen University of Technology, 1999. http://dx.doi.org/10.25368/2022.89.
Abstract (sommario):
The problem of content management of multimedia data types (e.g., image, video, graphics) is becoming increasingly important with the development of advanced multimedia applications. Traditional database management systems are inadequate for the handling of such data types. They require new techniques for query formulation, retrieval, evaluation, and navigation. In this paper we develop a knowledge-based framework for modeling and retrieving image data by content. To represent the various aspects of an image object's characteristics, we propose a model which consists of three layers: (1) Feature and Content Layer, intended to contain image visual features such as contours, shapes,etc.; (2) Object Layer, which provides the (conceptual) content dimension of images; and (3) Schema Layer, which contains the structured abstractions of images, i.e., a general schema about the classes of objects represented in the object layer. We propose two abstract languages on the basis of description logics: one for describing knowledge of the object and schema layers, and the other, more expressive, for making queries. Queries can refer to the form dimension (i.e., information of the Feature and Content Layer) or to the content dimension (i.e., information of the Object Layer). These languages employ a variable free notation, and they are well suited for the design, verification and complexity analysis of algorithms. As the amount of information contained in the previous layers may be huge and operations performed at the Feature and Content Layer are time-consuming, resorting to the use of materialized views to process and optimize queries may be extremely useful. For that, we propose a formal framework for testing containment of a query in a view expressed in our query language. The algorithm we propose is sound and complete and relatively efficient.
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Rigotti, Christophe, e Mohand-Saïd Hacid. Representing and Reasoning on Conceptual Queries Over Image Databases. Aachen University of Technology, 1999. http://dx.doi.org/10.25368/2022.89.
Abstract (sommario):
The problem of content management of multimedia data types (e.g., image, video, graphics) is becoming increasingly important with the development of advanced multimedia applications. Traditional database management systems are inadequate for the handling of such data types. They require new techniques for query formulation, retrieval, evaluation, and navigation. In this paper we develop a knowledge-based framework for modeling and retrieving image data by content. To represent the various aspects of an image object's characteristics, we propose a model which consists of three layers: (1) Feature and Content Layer, intended to contain image visual features such as contours, shapes,etc.; (2) Object Layer, which provides the (conceptual) content dimension of images; and (3) Schema Layer, which contains the structured abstractions of images, i.e., a general schema about the classes of objects represented in the object layer. We propose two abstract languages on the basis of description logics: one for describing knowledge of the object and schema layers, and the other, more expressive, for making queries. Queries can refer to the form dimension (i.e., information of the Feature and Content Layer) or to the content dimension (i.e., information of the Object Layer). These languages employ a variable free notation, and they are well suited for the design, verification and complexity analysis of algorithms. As the amount of information contained in the previous layers may be huge and operations performed at the Feature and Content Layer are time-consuming, resorting to the use of materialized views to process and optimize queries may be extremely useful. For that, we propose a formal framework for testing containment of a query in a view expressed in our query language. The algorithm we propose is sound and complete and relatively efficient.
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Olivier, Jason, e Sally Shoop. Imagery classification for autonomous ground vehicle mobility in cold weather environments. Engineer Research and Development Center (U.S.), novembre 2021. http://dx.doi.org/10.21079/11681/42425.
Abstract (sommario):
Autonomous ground vehicle (AGV) research for military applications is important for developing ways to remove soldiers from harm’s way. Current AGV research tends toward operations in warm climates and this leaves the vehicle at risk of failing in cold climates. To ensure AGVs can fulfill a military vehicle’s role of being able to operate on- or off-road in all conditions, consideration needs to be given to terrain of all types to inform the on-board machine learning algorithms. This research aims to correlate real-time vehicle performance data with snow and ice surfaces derived from multispectral imagery with the goal of aiding in the development of a truly all-terrain AGV. Using the image data that correlated most closely to vehicle performance the images were classified into terrain units of most interest to mobility. The best image classification results were obtained when using Short Wave InfraRed (SWIR) band values and a supervised classification scheme, resulting in over 95% accuracy.
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Norquist, Donald C., e K. S. Balasubramaniam. More Diagnosis of Solar Flare Probability from Chromosphere Image Sequences. Fort Belvoir, VA: Defense Technical Information Center, settembre 2012. http://dx.doi.org/10.21236/ada566093.
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Carin, Lawrence. FLIR Image Classification Using Hidden Markov Trees, with Comparisons to More-Traditional Algorithms. Fort Belvoir, VA: Defense Technical Information Center, gennaio 2002. http://dx.doi.org/10.21236/ada407122.
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Donaghey, S., S. Berman e N. Seja. More Than A War: Remembering 1914-1918. Unitec ePress, maggio 2016. http://dx.doi.org/10.34074/emed.035.
Abstract (sommario):
More Than a War: Remembering 1914-1918 presents a creative juxtaposition of digital platforms—a combination of audio, video, archival images, soundscapes, and social media, among others—to tell the stories from 1914–1918 a century later. Led by Sara Donaghey, Sue Berman and Nina Seja, the transmedia project brings together staff and students from Unitec Institute of Technology’s Department of Communication Studies and Auckland Libraries to provide a unique oral contribution to recording the history of Aotearoa New Zealand in The First World War.
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Bragdon, Sophia, Vuong Truong e Jay Clausen. Environmentally informed buried object recognition. Engineer Research and Development Center (U.S.), novembre 2022. http://dx.doi.org/10.21079/11681/45902.
Abstract (sommario):
The ability to detect and classify buried objects using thermal infrared imaging is affected by the environmental conditions at the time of imaging, which leads to an inconsistent probability of detection. For example, periods of dense overcast or recent precipitation events result in the suppression of the soil temperature difference between the buried object and soil, thus preventing detection. This work introduces an environmentally informed framework to reduce the false alarm rate in the classification of regions of interest (ROIs) in thermal IR images containing buried objects. Using a dataset that consists of thermal images containing buried objects paired with the corresponding environmental and meteorological conditions, we employ a machine learning approach to determine which environmental conditions are the most impactful on the visibility of the buried objects. We find the key environmental conditions include incoming shortwave solar radiation, soil volumetric water content, and average air temperature. For each image, ROIs are computed using a computer vision approach and these ROIs are coupled with the most important environmental conditions to form the input for the classification algorithm. The environmentally informed classification algorithm produces a decision on whether the ROI contains a buried object by simultaneously learning on the ROIs with a classification neural network and on the environmental data using a tabular neural network. On a given set of ROIs, we have shown that the environmentally informed classification approach improves the detection of buried objects within the ROIs.
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Alhasan, Ahmad, Brian Moon, Doug Steele, Hyung Lee e Abu Sufian. Chip Seal Quality Assurance Using Percent Embedment. Illinois Center for Transportation, dicembre 2023. http://dx.doi.org/10.36501/0197-9191/23-029.
Abstract (sommario):
This study investigates the use of macrotexture as an indicator of the percent embedment (PE) of aggregate in a chip seal and ultimately, as a quality assurance tool for chip seals. The study included an extensive field- and controlled-testing program from 24 chip seal sections constructed in Illinois. Surface texture measurements were acquired using a high-speed texture profiler and a stationary laser texture device. The analysis showed that stationary texture measurements were more consistent and reliable for estimating PE and characterizing chip seals in the field. Moreover, the ground truth PE values were estimated using an image analysis algorithm implemented on side-view images of cores extracted in the field. The ground truth PE values were estimated using four approaches: the average elevation method, percent embedment of each aggregate method, the peak method, and the aggregate circumference method. The analysis showed that the correlations between the different PE estimation methods are relatively weak, indicating the various methods provide different information and may relate to different characteristics. The general regression models for PE values estimated using the average elevation method and the mean profile depth (MPD) acquired using laser texture scans and the average least dimension (ALD) yielded the highest R2 value of 0.50. The model showed a consistent decreasing trend between PE and MPD estimated using laser texture scans and side-view images. Moreover, the model matched the expected behavior that PE should reach 100% as MPD reaches 0. Finally, four models were recommended correlating PE estimated using the average elevation and each aggregate methods to the MPD (mm) estimated from laser texture scans and ALD (mm) estimated from side-view images.