Gotowe bibliografie tematyczne / Geographical perception in motion pictures

Gotowa bibliografia na temat „Geographical perception in motion pictures”

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Data publikacji: 26 lipca 2024

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Artykuły w czasopismach na temat "Geographical perception in motion pictures"

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Marta Zarzycka and Bettina Papenburg. "Motion Pictures: Politics of Perception". Discourse 35, nr 2 (2013): 163. http://dx.doi.org/10.13110/discourse.35.2.0163.

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Jóźwiak, Marek, Brian Po-Jung Chen, Bartosz Musielak, Jacek Fabiszak i Andrzej Grzegorzewski. "Social Attitudes toward Cerebral Palsy and Potential Uses in Medical Education Based on the Analysis of Motion Pictures". Behavioural Neurology 2015 (2015): 1–8. http://dx.doi.org/10.1155/2015/341023.

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This study presents how motion pictures illustrate a person with cerebral palsy (CP), the social impact from the media, and the possibility of cerebral palsy education by using motion pictures. 937 motion pictures were reviewed in this study. With the criteria of nondocumentary movies, possibility of disability classification, and availability, the total number of motion pictures about CP was reduced to 34. The geographical distribution of movie number ever produced is as follows: North America 12, Europe 11, India 2, East Asia 6, and Australia 3. The CP incidences of different motor types in real world and in movies, respectively, are 78–86%, 65% (Spastic); 1.5–6%, 9% (Dyskinetic); 6.5–9%, 26% (Mixed); 3%, 0% (Ataxic); 3-4%, 0% (Hypotonic). The CP incidences of different Gross Motor Function Classification System (GMFCS) levels in real world and in movies, respectively, are 40–51%, 47% (Level I + II); 14–19%, 12% (Level III); 34–41%, 41% (Level IV + V). Comparisons of incidence between the real world and the movies are surprisingly matching. Motion pictures honestly reflect the general public’s point of view to CP patients in our real world. With precise selection and medical professional explanations, motion pictures can play the suitable role making CP understood more clearly.
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Lorteije, Jeannette A. M., J. Leon Kenemans, Tjeerd Jellema, Rob H. J. van der Lubbe, Frederiek de Heer i Richard J. A. van Wezel. "Delayed Response to Animate Implied Motion in Human Motion Processing Areas". Journal of Cognitive Neuroscience 18, nr 2 (1.02.2006): 158–68. http://dx.doi.org/10.1162/jocn.2006.18.2.158.

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Viewing static photographs of objects in motion evokes higher fMRI activation in the human medial temporal complex (MT+) than looking at similar photographs without this implied motion. As MT+ is traditionally thought to be involved in motion perception (and not in form perception), this finding suggests feedback from object-recognition areas onto MT+. To investigate this hypothesis, we recorded extracranial potentials evoked by the sight of photographs of biological agents with and without implied motion. The difference in potential between responses to pictures with and without implied motion was maximal between 260 and 400 msec after stimulus onset. Source analysis of this difference revealed one bilateral, symmetrical dipole pair in the occipital lobe. This area also showed a response to real motion, but approximately 100 msec earlier than the implied motion response. The longer latency of the implied motion response in comparison to the real motion response is consistent with a feedback projection onto MT+ following object recognition in higher-level temporal areas.
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Reddy, K. Manideep. "Face Recognition for Criminal Detection". International Journal for Research in Applied Science and Engineering Technology 10, nr 6 (30.06.2022): 2856–60. http://dx.doi.org/10.22214/ijraset.2022.44528.

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Abstract: In these days, assessment camera structure wins as a security system at high speed since this structure can screen from remote spots using Web camera joined to video screen by network. Besides, computerized supplies like Web camera, and hard circle drive are proficiently fabricated, and are sold for minimal price. Likewise, execution gain of these mechanized sorts of stuff improves at a fast rate. Current perception camera structure shows dynamic pictures from some oversight areas shot by various Web cameras all the while. Then, this system makes spectator's mind and body tired considering the way that he/she wants to watch enormous number of dynamic pictures been persistently strengthened. Moreover, this structure has a troublesome issue, which is an observer slips over mark of bad behavior. This study eliminates Motion Region from moving individual, and measures Motion Quantity for assessing his/her dynamic state. Also, this recommendation method finds the distinctive place of questionable activity, and checks the degree of risk of the questionable development.
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Mulahi, Samiha. "North Africa in Russian Travelers Perception: Algeria, Tunisia, Egypt in Russian Travelogues". Polylinguality and Transcultural Practices 17, nr 4 (15.12.2020): 505–13. http://dx.doi.org/10.22363/2618-897x-2020-17-4-505-513.

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The article is devoted to the analysis of Russian travelers ideas about North African countries (Algeria, Tunisia, Egypt) in the period from the end of the XIX century to the beginning of the XX century. The paper considers the perception of this geographical area by Russian travelers in literary travelogues. North Africa in the designated period of time was considered not only as the cradle of ancient and great civilization, but also as a Europeanized, modernized territory of the Arab area. The travelogues analyzed in the article make it possible to distinguish in them two different cultural pictures of the world - North Africa and the picture of the world of Western Europe reflected in it.
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Nather, Francisco Carlos, Vinicius Anelli, Guilherme Ennes i José Lino Oliveira Bueno. "Implied Movement in Static Images Reveals Biological Timing Processing". Paidéia (Ribeirão Preto) 25, nr 61 (sierpień 2015): 251–59. http://dx.doi.org/10.1590/1982-43272561201513.

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Visual perception is adapted toward a better understanding of our own movements than those of non-conspecifics. The present study determined whether time perception is affected by pictures of different species by considering the evolutionary scale. Static (“S”) and implied movement (“M”) images of a dog, cheetah, chimpanzee, and man were presented to undergraduate students. S and M images of the same species were presented in random order or one after the other (S-M or M-S) for two groups of participants. Movement, Velocity, and Arousal semantic scales were used to characterize some properties of the images. Implied movement affected time perception, in which M images were overestimated. The results are discussed in terms of visual motion perception related to biological timing processing that could be established early in terms of the adaptation of humankind to the environment.
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Mulier, Lana, Eva Meersseman, Iris Vermeir i Hendrik Slabbinck. "Food on the Move: The Impact of Implied Motion in Pictures on Food Perceptions through Anticipated Pleasure of Consumption". Foods 10, nr 9 (16.09.2021): 2194. http://dx.doi.org/10.3390/foods10092194.

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To tackle obesity, upgrading the image of healthy food is increasingly relevant. Rather than focusing on long-term benefits, an effective way to promote healthy food consumption through visual advertising is to increase its pleasure perception. We investigate whether implied motion, a popular trend in food pictures, affects food perceptions through anticipated consumption pleasure. Prior research shows that motion affects food perceptions, but these studies focused on limited food categories, using experiments with a single food stimulus, and mainly showing unhealthy food effects. Therefore, we aim to (1) replicate prior findings on the effects of food in motion on appeal, tastiness, healthiness, and freshness perceptions; (2) examine whether these effects differ for healthy and unhealthy food; and (3) investigate whether anticipated pleasure of consumption drives the effects of implied motion on food perceptions. Three between-subjects experiments (N = 626) reveal no evidence for the effectiveness of motion (vs. no motion) across a large variety of food products. We further show no differential effects for healthy versus unhealthy foods. Moreover, implied motion does not increase appeal or taste perceptions through anticipated pleasure. Considering the current replication crisis, these findings provide more nuanced insights into the effectiveness of motion in visual food advertising.
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Yamauchi, Naoto, Kazuko Shinohara i Hideyuki Tanaka. "Crossmodal Association Between Linguistic Sounds and Motion Imagery: Voicing in Obstruents Connects With Different Strengths of Motor Execution". Perception 48, nr 6 (1.05.2019): 530–40. http://dx.doi.org/10.1177/0301006619847577.

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The present study investigates whether obstruent voicing may or may not affect the imagery of different strengths of motor execution. In a modified version of the implicit association test, participants responded to discrimination tasks that include viewing static pictures of athletes in motion and hearing mono-syllabic linguistic sounds. The results suggest that voiced obstruents are compatible with the motion imagery that implies stronger motor executions, whereas voiceless obstruents are compatible with the imagery that implies weaker motor executions. These results provide experimental support for crossmodal associations between the auditory perception of linguistic sounds, namely, the voicing of obstruents, and the visually induced imagery of different levels of strength in motor actions.
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Yano, Sumio. "Biological Response to Pictures on Television. Perception and Control of Self-motion for Observer's Visual Field." Journal of the Institute of Television Engineers of Japan 50, nr 4 (1996): 429–35. http://dx.doi.org/10.3169/itej1978.50.429.

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Tang, Ming, i Adekunle Adebisi. "Using Eye-Tracking for Traffic Control Signage Design at Highway Work Zone". Interdisciplinary Journal of Signage and Wayfinding 6, nr 2 (4.11.2022): 43–54. http://dx.doi.org/10.15763/issn.2470-9670.2022.v6.i2.a120.

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This paper discusses the application of Eye Tracking (ET) technologies for researchers to understand a driver’s perception of signage at the highway work zone. Combining ET within a screen-based motion pictures and a driving simulator, the team developed an analytical method that allowed designers to evaluate signage design. Two experiments were set up to investigate how signage design might affect a driver’s visual attention and interaction under various environmental complexities and glare conditions. The study explores the visual perception related to several spatial features, including signage modality, scene complexity, and color schemes. The ET method utilizes total fixation time and time to first fixation data to evaluate the effectiveness of signage presented through screen-based video and a driving simulator.
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Rozprawy doktorskie na temat "Geographical perception in motion pictures"

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Bardsley, Karen. "Out of sight : resemblance, illusion and cinematic perception". Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84465.

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In my thesis I develop a theory of our mental, physiological and emotional involvement with motion pictures that accounts for the distinct role of perception in our cinematic experiences. In particular, I present a (limited) resemblance view of cinematic perception and depiction that begins with an analysis of motion picture screenings as events in the world to which audience members share perceptual access and to which we can attribute complex visual and auditory properties. By understanding the precise nature of these properties and by understanding the mind's rich and dynamic relationship to visual and auditory stimuli, we can meet the demand of explaining the essential contribution of perception to our cinematic experiences. This positive theory is introduced through a philosophical and empirical critique of the work of several contemporary "cognitivist" film theorists who can been faulted for (i) falling into the traps of traditional illusion accounts, (ii) failing to account for the perceptual nature of our film experiences, or (iii) incorrectly characterizing the nature of our perceptual relationship to cinematic content.
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Burge, Eric William. "Sound Design for Non-fiction Film and Video: A Discussion of Methodology, Perception, and Ethics". Thesis, Montana State University, 2007. http://etd.lib.montana.edu/etd/2007/burge/BurgeE1207.pdf.

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Traditional documentary films, particularly science and natural history works, presume to authentically or legitimately convey accurate representations of historical events that actually occurred at a prior time. Factual and convincing representations are not necessarily congruent, and a film's merit of authenticity is often based on the perceived validity of the visual content represented. While visual imagery dominates a presentation's general delivery, a film's sound design is a fundamental structural element that is often overlooked or less scrutinized with regard to factual or accurate recounting of these same historical events. The purpose of this thesis is to examine methodologies of sound acquisition and reproduction and to discuss how various acoustic contents are perceived in relation to associated visual elements. While discerning viewers may notice critical discrepancies in picture contents that may invalidate a film's credibility, a complex matrix of sonic elements does not lend itself to deconstruction as easily. Thorough analysis of a science and natural history film must include an examination of its complete sound design. Consideration must be given to the ethical implications of using any synthesized or borrowed audio tracks if such a work is to be considered as "factual" documentary. The standards of acceptance or rejection should be no different than those associated with fabricating unnatural or contrived visual contents, no matter how compelling may be the end product.
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Chéné, Johanne. "La représentation de la femme dans des films québécois mettant en scène les années 1900 à 1950". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq26050.pdf.

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Elkington, Trevor G. "Moments in space, spaces in time : phenomenology and the embodied depth of cinematic image /". Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/6621.

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Marnewick, Benjamin Meiring. "Drawing on/from a mirror : a self-reflexive study of the representation and perception of violence in contemporary film". Thesis, Stellenbosch : University of Stellenbosch, 2011. http://hdl.handle.net/10019.1/6582.

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Thesis (MA)--University of Stellenbosch, 2011.
ENGLISH ABSTRACT: The cinematic communication process starts with the creative enunciation by the filmmaker and ends with the viewer's subjective perception of the film. This thesis represents a theoretical and experiential investigation of this process and entails critical and self-reflexive discussions of stylistic approaches to filmic representation. The focus of this representation falls on on-screen violence. This study is a practice-led process, and therefore the fields of research are applied to my own work, namely the filmmaking process of a feature film entitled Preek. The research was prompted by my need to take an academic stance on the filmmaking process, instead of a mere practical one, and to form an intellectual awareness of the filmmaker and viewer dynamic. As a practicing filmmaker interested in the mimetic quality of film representations, it was necessary for me to form a conscious apprehension of how a film may be understood as a reflection on reality on the one hand, and an expression formulated through the filmmakers creative decisions on the other. The representation of violence in film was investigated by the way of critical readings of selected films, framed by both contemporary and classical film theory. Through contemporary film theory, I investigated the viewer's perception and identification with the film's diegesis, and particularly with its characters. The „classic‟ film theories of the realists and formalists allowed me to discern two stylistic approaches to the representation of violence in film, and to explore the emotional affect and cathartic release these approaches may elicit from viewers. These discussions were then applied to my own film Preek, in order to critically understand the relationship between filmmaker and viewer. The research and the application thereof, indicated that the stylistic approach to the representation of violence and its intensity in a film, unveils the filmmaker's motivation for communicating through the film medium. The arguments showed that I represented the violence in Preek in such a way that it may result in a traumatic affect on the viewer rather than an appreciation of its aesthetic value, and that this affect is the result of an engagement with the film's diegesis, due to the viewer's own identificatory participation. The research concluded that the viewer's subjective identification with the film forms a triangular relationship and communication between filmmaker, film and viewer.
AFRIKAANSE OPSOMMING: Die kinematiese kommunikasieproses begin met die kreatiewe uitdrukking van die filmmaker, en eindig met die kyker se subjektiewe waarneming van die film. Hierdie tesis verteenwoordig 'n teoretiese en ervaringsgerigte ondersoek van die kinematiese kommunikasieproses, en behels kritiese en self-reflektiewe argumente van stilistiese benaderings tot filmiese uitbeelding. Die fokus van hierdie uitbeelding is op geweld gerig. Die navorsing is 'n prakties-georiënteerde studie en daarom word die navorsing op my eie werk toegepas, naamlik die filmmaak-proses van die vollengte film, Preek. Die navorsing was aangespoor deur my behoefte daaraan om die filmmaak-proses vanuit 'n akademiese oogpunt te benader, in pleks daarvan om 'n suiwer praktiese posisie teenoor die filmmaak-proses in te neem. Vervolgens is die navorsing aangespoor deur my behoefte daaraan om intellektuele bewustheid oor die dinamika tussen die filmmaker en kyker te skep. As 'n praktiserende filmmaker wat geïnteresseerd is in die mimetiese eienskap van film-uitbeeldings, was dit vir my belangrik om 'n duidelike begrip te ontwikkel van die manier waarop film verstaan kan word, eertstens as 'n weerspieëling van realiteit, en tweedens as ‟n uitdrukking wat deur die kreatiewe besluite van die filmmaker gevorm is. Die verteenwoordiging van geweld in films is ondersoek deur middel van die kritiese beskouing van uitgesoekte films wat deur beide kontemporêre en klassieke film-teorie gevorm is. Ek het deur kontemporêre film teorie die kyker se waarneming en vereenselwiging met die film se diegesis en veral die film se karakters, ondersoek. Die klasieke film teorieë van die realiste en formaliste het my in staat gestel om tussen twee stilistiese benaderings tot die uitbeelding van geweld in film te onderskei, en om die emosionele effek en katartiese vrystelling wat hierdie benaderings by die kyker kan ontlok, te verken. Hierdie besprekings is gevolglik toegepas op my film, Preek, ten einde 'n kritiese begrip van die verhouding tussen filmmaker en kyker te vorm. Die navorsing en die toepassing daarvan het getoon dat die stilistiese benadering tot die uitbeelding van geweld, asook die intensiteit daarvan in film, die filmmaker se motivering tot kommunikasie deur die film-medium ontbloot. Die argumente het getoon dat ek die geweld in Preek op so 'n manier uitgebeeld het dat dit 'n traumatise affect op die kyker kan hê, in pleks van 'n waardering vir estetiese. Die argumente het verder aangedui dat hierdie effek die resultaat is van ‟n betrokkenheid by die film se diegesis, en dat dit te danke is aan die kyker se deelname aan vereenselwiging. Die navorsing het die slotsom gekom dat die kyker se subjektiewe identifikasie met die film 'n drieledige verhouding tussen filmmaker, film en die kyker vorm.
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White, Theresa Renee. "Media as pedagogy and socializing agent influences of feminine beauty aesthetics in American teen-oriented films and magazines on African American adolescent female self image /". Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1610103761&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Bouxsein, Benjamin D. "An Analysis of the Depiction of Romantic Relationships in Western Cinema Compared to Cultural Perceptions of Relationships". Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1556721347157763.

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Akal, Shari Tamar. "Costuming gender : an investigation into the construction and perception of drag costume in mainstream film". Thesis, 2015. http://hdl.handle.net/10321/2423.

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Submitted in fulfilment of the requirements of the Degree of the Master of Technology in Fashion, Durban University of Technology, Durban, South Africa, 2015.
The years succeeding 1990 have seen a significant increase in the release of mainstream film featuring transgendered characters. The inclusion of such characters in popular film becomes a point of interest as transgendered identities differ from the hegemonic heterosexism of the audiences at whom these films are targeted. This investigation aims to gain a better understanding of how audience members read gendered identity through the visual appearance of drag queen characters in mainstream film. Due to the emblematic contrast between the male body and a hyper-feminine dress aesthetic, drag queens pose an overt visual challenge to the normative expectation of anatomical sex determining gender and gendered expression. This investigation is conducted from the paradigmatic perspective that recognises the impossibility of a ‘correct’ reading of dress aesthetics and is thus concerned with discovering the various gendered meanings audience members may attach to drag costume in film. This interpretivist standpoint, however, is held in conjunction with the critical understanding that prevalent contemporary socio-political constructs with regard to gender and dress will undoubtedly affect these perceptions. Segments from selected Hollywood films featuring drag queen protagonists were screened for a heterogeneous focus group and the subsequent discussion analysed through critical discourse analysis. Academic discourse concerning the socially constructed gender dichotomy and the debated subversive potential of the drag act is reviewed in order to provide a theoretical framework for analysing the participants’ comprehension of gendered performance. Gendered associations with dress and the body together with film theory are examined to better understand how an audience may perceive gendered identity through drag costume in film and what affect this may have on their conception of sartorial gendered expressions in reality. Finally, to situate and provide further context for this investigation, Queer theory critiques of the representation and reception of transgendered characters in past mainstream films are considered.
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Walker, Susan M. "An explanatory analysis of relationships between personality constructs, anxiety, racial identity, and reactions to an experiental learning tool about race relations /". Diss., 2004. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3154574.

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Greenwood, Dara N. "Transporting to TV -land: The impact of idealized character *identification on self and body image". 2004. http://books.google.com/books?id=Q61kAAAAMAAJ.

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Thesis (Ph. D.)--University of Massachusetts at Amherst, 2004.
"Printed in 2005 by digital xerographic process on acid free paper"--Prelim. p. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 65-69).
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Książki na temat "Geographical perception in motion pictures"

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Jarvis, Brian. Postmodern cartographies: The geographical imagination in contemporary American culture. New York: St. Martin's Press, 1998.

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Jarvis, Brian. Postmodern cartographies: The geographical imagination in contemporary American culture. Chicago: Pluto Press, 1998.

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O, Mi-il. Sŏnmang kwa chilsi ŭi lok'ŏllit'i: Locality of envy and jealousy. Wyd. 8. Sŏul-si: Somyŏng Ch'ulp'an, 2013.

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Klaus, Kreimeier, i Ligensa Annemone, red. Film 1900: Technology, perception, culture. New Burnet, England: John Libbey, 2009.

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Klaus, Kreimeier, i Ligensa Annemone, red. Film 1900: Technology, perception, culture. New Burnet, England: John Libbey, 2009.

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Esquenazi, Jean-Pierre. Film, perception et mémoire. Paris: L'Harmattan, 1994.

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Bill, Richardson. Spatiality and symbolic expression: On the links between place and culture. New York: Palgrave Macmillan, 2015.

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Langkjær, Birger. Den lyttende tilskuer: Perception af lyd og musik i film. København: Museum Tusculanums Forlag, 2000.

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Donaldson, Lucy Fife. Texture in film. Hampshire: Palgrave Macmillan, 2014.

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Sasaki, Atsushi. Kono eiga o mite iru no wa dare ka? Wyd. 8. Tōkyō: Sakuhinsha, 2019.

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Części książek na temat "Geographical perception in motion pictures"

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Hochberg, Julian, i Virginia Brooks. "The Perception of Motion Pictures". W Cognitive Ecology, 205–92. Elsevier, 1996. http://dx.doi.org/10.1016/b978-012161966-4/50008-6.

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Hochberg, Julian, i Virginia Brooks. "Movies In The Mind’s Eye". W In The Mind’s Eye Julian Hochberg, 376–95. Oxford University PressNew York, NY, 1992. http://dx.doi.org/10.1093/oso/9780195176919.003.0020.

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Abstract Most writers on film, and most filmmakers, need no science. But any serious discussion of whether the medium was used effectively or artistically in any instance requires some understanding of how we perceive and remember moving pictures, and that must derive from research: Introspection will not serve. Scattered aspects of cognitive science have begun to appear, therefore, in recent writings on film. On the other side of the aisle, students of perception and visual memory cannot afford to ignore moving pictures, but until recently they have mostly confined their attention to low-level motion phenomena, as have introductory film texts. The latter, if they write at all about perception, still proclaim that we perceive motion from successive still frames because of (heavens protect us!) ‘‘persistence of vision.’’ In any case, stroboscopic motion is only a small part of the perception of visual events, which is what film is about.
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Ladjailia, Ammar, Imed Bouchrika, Nouzha Harrati i Zohra Mahfouf. "Encoding Human Motion for Automated Activity Recognition in Surveillance Applications". W Applied Video Processing in Surveillance and Monitoring Systems, 170–92. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-1022-2.ch008.

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As computing becomes ubiquitous in our modern society, automated recognition of human activities emerges as a crucial topic where it can be applied to many real-life human-centric scenarios such as smart automated surveillance, human computer interaction and automated refereeing. Although the perception of activities is spontaneous for the human visual system, it has proven to be extraordinarily difficult to duplicate this capability into computer vision systems for automated understanding of human behavior. Motion pictures provide even richer and reliable information for the perception of the different biological, social and psychological characteristics of the person such as emotions, actions and personality traits of the subject. In spite of the fact that there is a considerable body of work devoted to human action recognition, most of the methods are evaluated on datasets recorded in simplified settings. More recent research has shifted focus to natural activity recognition in unconstrained scenes with more complex settings.
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Ladjailia, Ammar, Imed Bouchrika, Nouzha Harrati i Zohra Mahfouf. "Encoding Human Motion for Automated Activity Recognition in Surveillance Applications". W Computer Vision, 2042–64. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-5204-8.ch089.

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As computing becomes ubiquitous in our modern society, automated recognition of human activities emerges as a crucial topic where it can be applied to many real-life human-centric scenarios such as smart automated surveillance, human computer interaction and automated refereeing. Although the perception of activities is spontaneous for the human visual system, it has proven to be extraordinarily difficult to duplicate this capability into computer vision systems for automated understanding of human behavior. Motion pictures provide even richer and reliable information for the perception of the different biological, social and psychological characteristics of the person such as emotions, actions and personality traits of the subject. In spite of the fact that there is a considerable body of work devoted to human action recognition, most of the methods are evaluated on datasets recorded in simplified settings. More recent research has shifted focus to natural activity recognition in unconstrained scenes with more complex settings.
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Reynolds, David. "Whitehall, Washington, and the Promotion of American Studies in Britain, 1941–1943". W From World War to Cold War, 179–98. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780199284115.003.0011.

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Abstract Most of Britain seems to believe that nothing happens in America except ‘gangster shootings, rapes and kidnappings’. That was the complaint of JosephP. Kennedy, the US Ambassador, in a speech in Liverpool in May 1939. Kennedy blamed this perception on the British belief that American ‘home life, history, and even legal practice are typed by motion pictures’. He appealed for better press coverage of the United States and for the study of American history in British schools and universities.1
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Moore, Marshall. "The Charioteers". W Playing Out The Empire, 291–97. Oxford University PressOxford, 1994. http://dx.doi.org/10.1093/oso/9780198119906.003.0007.

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Abstract The timing of Ben-Hur—performances in America from 1899 and in London from 1902—coincides with the moment that popular entertainment comes to a fork in the road. Straight ahead is further development of the stage play. Leading to one side is the faint trail of cinema. The stage history of Ben-Hur and Ben-Hur ‘borrowings’ is brief. The history of Ben-Hur motion pictures continues up to 1959, but in each instance the first stage and filmic ventures after the Klaw and Erlanger production reveal much about the current perception and reception of toga drama.
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Strohm, Reinhard. "Townscape–Soundscape". W Music in Late Medieval Bruges, 1–9. Oxford University PressNew York, NY, 1990. http://dx.doi.org/10.1093/oso/9780193164185.003.0001.

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Abstract LATE medieval Bruges is known to us through the stillness of pictures. Motion and sound are contained in them, but in a frozen form: reduced to an infinitely small fraction of time. Given time, the pictures would start to move, and the music would be heard. In the Ghent panels by Hubert and Jan van Eyck, an angel is seen playing the organ: she is about to press the keys F, c and a.— The time lapse between her action and the perception of the chord is extended to eternity. Next to the organ-player another angel, holding a harp, counts the time with her fingers on the shoulder of the partner in front of her, who holds a viol and is ready to play, but is resting. In the opposite wing of the picture, eight angels are singing mensural polyphony. Musical measure determines the precise moment in time in which the whole picture is set.
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Hochberg, Julian, i Virginia Brooks. "Film Cutting And Visual Momentum". W In The Mind’s Eye Julian Hochberg, 206–28. Oxford University PressNew York, NY, 1992. http://dx.doi.org/10.1093/oso/9780195176919.003.0014.

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Abstract We perceive the world by means of successive sensory samples. In vision, this means by sequences of views. Most view sequences are obtained by the viewer’s own perceptuomotor acts. Some view sequences are given to the viewer by a filmmaker, and these often consist of sequences of nonoverlapping views. There are two general kinds of answers to the question of how we combine our successive glances into a coherent perceptual world: These are (1) the compensatory, or subtractive, explanations, whether based on extraretinal signals (cf. Martin, 1976; Sedgwick & Festinger, 1976; Skavenski, 1976) or on the transformations of the visual image (Gibson, 1954, 1957, 1966; Johansson, 1974); and (2) the inferential, expectancy-testing, or schema-testing explanations (Hochberg, 1968; Neisser, 1967; Piaget, 1954). The compensatory explanations may or may not be fully adequate to explain how we combine view sequences that we obtain by our own perceptuomotor acts, but they simply cannot account for our perception of motion pictures in which scenes are built up by a succession of nonover-lapping views.
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Blum, Bruce I. "In the Tradition". W Beyond Programming. Oxford University Press, 1996. http://dx.doi.org/10.1093/oso/9780195091601.003.0006.

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Fifty years ago there were no stored-program binary electronic computers. Indeed, in the mid 1940s computer was a job description; the computer was a person. Much has happened in the ensuing half-century. whereas the motto of the 1950s was “do not bend, spindle, or mutilate,” we now have become comfortable with GUI wIMP (i.e., Graphic User Interface; windows, Icons, Mouse, and Pointers). whereas computers once were maintained in isolation and viewed through large picture windows, they now are visible office accessories and invisible utilities. whereas the single computer once was a highly prized resource, modern networks now hide even the machines’ geographic locations. Naturally, some of our perceptions have adapted to reflect these changes; however, much of our understanding remains bound to the concepts that flourished during computing’s formative years. For example, we have moved beyond thinking of computers as a giant brain (Martin 1993), but we still hold firmly to our faith in computing’s scientific foundations. The purpose of this book is to look forward and speculate about the place of computing in the next fifty years. There are many aspects of computing that make it very different from all other technologies. The development of the microchip has made digital computing ubiquitous; we are largely unaware of the computers in our wrist watches, automobiles, cameras, and household appliances. The field of artificial intelligence (AI) sees the brain as an organ with some functions that can be modeled in a computer, thereby enabling computers to exhibit “intelligent” behavior. Thus, their research seeks to extend the role of computers through applications in which they perform autonomously or act as active assistants. (For some recent overviews of AI see waldrop 1987; Crevier 1993.) In the domain of information systems, Zuboff (1988) finds that computers can both automate (routinize) and informate, that is, produce new information that serves as “a voice that symbolically renders events, objects, and processes so that they become visible, knowable, and sharable in a new way” (p. 9).
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Griep, Mark A., i Marjorie L. Mikasen. "The Dark and Bright Sides of Chemistry in the Movies". W ReAction! Oxford University Press, 2009. http://dx.doi.org/10.1093/oso/9780195326925.003.0004.

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Almost a decade ago we sat down to watch some pure home video entertainment: Clambake, starring Elvis Presley. Halfway through the movie, to our complete surprise, Elvis turned into a chemist! You might say this book began at that moment. In the following pages, we examine the presence of chemistry in one of the most accessible of all cultural products: movies. It has been noted repeatedly in recent years that chemistry is one of the least popularized areas of the hard sciences. When the term “science” is used in popular culture and the media, it often refers to medicine, physics, and biology. Monsters and superheroes, mad scientists and geniuses, aliens and mutants—all spring with ease from these realms. The discipline of chemistry seems by comparison to be underrepresented in cultural depictions, with an appearance harder to trace and an impact less openly acknowledged. Is this perception truly accurate? One need only name names—Dr. Jekyll and Mr. Hyde—to see that this can hardly be the case. From the silent era through today, it is clear that chemistry has always been in the movies. In fact, chemical themes and characters have been capturing the imaginations of audiences for more than a century. They appear in surprising and significant ways and have generated some of the most enduring fictions and motifs in movie history, and thus in the culture at large. In its starring role, chemistry, the transformative science, has been moving us as it changes with the times. More than 1,200 motion pictures were compiled, analyzed, and categorized for this project. The sheer quantity of movies containing some aspect of chemistry was eye-opening. What started out as an exercise in curiosity, casually noting the appearance of chemistry themes through random movie viewing, quickly turned into serious study as the numbers kept rising. Inspired by the National Institutes of Health (NIH) “Science in Cinema” film series, we started making a list. Every summer since 1998 (Zurer 1998), the NIH has screened six films, each dealing with a different medical theme, followed by a short scientific analysis from an NIH researcher working in a relevant field.
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Streszczenia konferencji na temat "Geographical perception in motion pictures"

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Panchenko, Svetlana. "Mental Map of Yekaterinburg in the Book 'The Drawn City' By A. Ryzhkov: Linguistic Analysis". W The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-42.

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The article contains a linguistic analysis of the book ‘The Drawn City’ by A. Ryzhkov; the book comprises reproductions of pictures and respective text in the context of a mental map of the city of Yekaterinburg. In approaching the mental map as spatial information in people’s minds, reflecting the image of the city, the goals of linguistic analysis are to show the vision of the metropolis and the linguistic ways of verbally expressing the thoughts and feelings of the landscape artist; to determine the value to society of the private perception of the city through artistic representation and textual expression. Stylistic analysis of the text reveals the dominant features regarding the lexical, morphological and syntactic levels, while the pragmatics of the text consider its social relevance. Peculiar traits of the author’s style of the artist and the writer, as perceived by readers, have been listed; important points of the mental map of the city have been defined accounting for the book’s content: architecture, dominant idea, eclectics. The perception of time in synchronicity and diachronicity in the narrative regarding Yekaterinburg is considered, the motif of transition from reality to imagery is shown. Examples are given of positive, negative and contradictory evaluations of architectural objects, verbally influencing readers through the creation of visual images. There are linguistic tricks listed which were used in the book by A. Ryzhkov uses language techniques that hold the attention of the recipient of the text: comparison, personification, the use of colloquial language, humour and wordplay, and dialogisation. Methods of the creation of an imagery-geographic map of urban space have been shown in the author’s iconic-symbolic form. A conclusion was made on the significance of the book of A. Ryzhkov having used a visual-verbal method for the creation of a sustainable and replicable image of the city in the human mind. The artist’s civic stance on city protection has been set forth.
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Sun, Xiaotian. "The smell of the scene - Mapping the digital smell of scenes around Beijing". W 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001777.

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Smell is an sensation underrated in our life.In the culture dominated by vision, it is common to try to hide and deny the true smell of things.But smell may be the strongest and most interesting sensations humans possess: it is primitive, instinctive, sensual, and uncontrollable. We are surrounded by smells, they process through the air, and we cannot avoid perceiving them.We perceive the quality of things through smell, and we get thousands of messages from a large number of small particles that reach our nostrils . It communicates with people directly and exchanges information.Smell can reach the marginal regions of the brain before we feel any other sensory stimuli, because this is the most primitive part of human experience related to the strongest emotions.In order to explore digital smell,I designed a “scentgraphy” in my previous work, and establishing the relationship between color and smell is my main job.In this paper,I'll started to establish the relationship between the smell and scene to make the digital smell more accurate.and it is expected in the next research that the relationship between smell and scene will be applied the scentgraphy4.0 based on computer vision recognition .Therefore, my research aim in this article is to use common scene in our everyday life or the nature to map with their corresponding smell. However, due to the different geographical and cultural gap, the smell of the same scene may appear different, because this study will be studied that be selected in different scene of a city.In this paper, my research aims to use the common scene in our everyday life or the nature to map with their corresponding smell in order to establish the relationship between scene and smell. In the research process, take Beijing as an example, and record the smell of 6 kinds of outdoor scenes through on-site perception and photography. The research result will be applied in digital olfactory project related with computer vision recognition.In order to explore the digitization of smell, this paper will explore representative smell from the same kind of scene.By drawing on DrKate McLean's Smell Map method, which was used to study and design urban smell scenes, the participants were able to discover the unique odor from the urban environment. The common scenes in daily life or nature are mapped to their corresponding scents, while this paper focuses on finding the most common scents in the same type of scenes.Participants selected a scene to take pictures feel and analyze the smell of the scene(the smell was divided into different experience values of 1-5),and finally record the time, place and noise value(the noise was also divided into experience values of different values of 1-5).When collecting the questionnaire ,we will Qualitative analysis and quantitative analysis these subjective data to get the unique smell scene in each scene of Beijing. The result are used as the basis for the subsequent smell calculation model and smell database.Due to the differences between regions and cultures, different smell may appear in the same scene, because I chose different scenes(and representative scenes)in Beijing for this study. Finally, the data collected during the experiment were used to explore the connection between scene and smell.The whole experiment was divided into four parts.The experiment started on the internet. Volunteers collect data, recover and process data, analyze and summarize data.
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