Gotowe bibliografie tematyczne / Visual art

Gotowa bibliografia na temat „Visual art”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 25 maja 2024

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Artykuły w czasopismach na temat "Visual art"

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Wilson, Fred. "Visual Art". Callaloo 33, nr 4 (2010): 1021–28. http://dx.doi.org/10.1353/cal.2010.0067.

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Greenfield, Gary, i Penousal Machado. "Ant- and Ant-Colony-Inspired ALife Visual Art". Artificial Life 21, nr 3 (sierpień 2015): 293–306. http://dx.doi.org/10.1162/artl_a_00170.

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Ant- and ant-colony-inspired ALife art is characterized by the artistic exploration of the emerging collective behavior of computational agents, developed using ants as a metaphor. We present a chronology that documents the emergence and history of such visual art, contextualize ant- and ant-colony-inspired art within generative art practices, and consider how it relates to other ALife art. We survey many of the algorithms that artists have used in this genre, address some of their aims, and explore the relationships between ant- and ant-colony-inspired art and research on ant and ant colony behavior.
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Layne, Sara Shatford. "Artists, Art Historians, and Visual Art Information". Reference Librarian 22, nr 47 (listopad 1994): 23–36. http://dx.doi.org/10.1300/j120v22n47_03.

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Kindler, Anna M. "Visual Culture, Visual Brain, and (Art) Education". Studies in Art Education 44, nr 3 (kwiecień 2003): 290–96. http://dx.doi.org/10.1080/00393541.2003.11651745.

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Singh Chauhan, Bijender. "CREATIVITY IN VISUAL ART". International Journal of Research -GRANTHAALAYAH 3, nr 1 (31.01.2015): 37–40. http://dx.doi.org/10.29121/granthaalayah.v3.i1.2015.3051.

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This paper examines the nature of creativity in visual art. Creativity requires originality and effectiveness in the work of art whether it is a design or a painting. Originality is undoubtedly required. It is often labeled novelty, but whatever the label, if something is not unusual, novel or unique, it is commonplace, mundane or conventional. It is undoubtedly cannot be called creative work. According to my opinion, creativity requires confluence of some instinct like intellectual abilities, knowledge, and style of thinking, personality, motivation and environment. It varies across time and place but nature of creativity essentially the same around the globe.
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Dorot, Ruth. "Visual Dignity in Art". Journal of Education Culture and Society 11, nr 1 (27.06.2020): 241–54. http://dx.doi.org/10.15503/jecs2020.1.241.254.

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Aim. The aim of this article is to deal with visual dignity in the field of western art throughout the ages as it seeks to present the artistic and design devices employed by artists in order to compose and convey this aura of dignity. Moreover, it addresses the ways in which they create various kinds of atmosphere of respect and dignity felt by the observer regarding the topic and object of the painting or sculpture. Methods. In order to achieve this aim, the article examines seven masterpieces which explore the visual representations of various perceptions of dignity and their implications. Among the elements affecting the creation of dignity in the visual domain one finds: an impressive or majestic appearance, noblesse, self-esteem, pride, self-confidence, inner strength, authoritativeness and charisma. At times, the respectful treatment of the figures is clear as soon as one views the work, but at others it is implied in the interpretation given to it. It is not this article's intention to discuss the different perceptions or expressions of human dignity, historically, theologically, politically, psychologically, nationally or socially, but to present them artistically as they are the innate right of people to be appreciated, treated with courtesy and met with ethical behavior. Results and conclusion. The research done in order to reach a conclusion confirming or contradicting the premises at its base, resulted in a mosaic of situations in which human dignity is reflected. The range of possibilities at the artists’ disposal for creating this value is diverse and includes: composition, use of color, mimesis, embellishment, disfigurement or distortion of reality. The pieces examined present: a military commander at the moment of his foe's surrender; an author monumentally impressive, man of vision and power and of grand dimensions, rising up from a stone plinth; a stern-faced, disfigured dwarf considered a ‘curiosity’, seated on the ground; a family of farmers living an impoverished and meager life; and a Jesus-like mysterious intellectual and Moses the prophet. All these together at first glance appear to be a strange collection of works, in which the common denominator is unclear or seemingly absent. However, this diverse group is included in the article because of the aura of dignity the figures command or convey. At times, the respectful treatment of the figures is clear as soon as one views the work, but at others it is implied in the interpretation given to it.
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Lewis, Paul. "Visual Art as Theology". Tradition and Discovery: The Polanyi Society Periodical 22, nr 1 (1995): 31–32. http://dx.doi.org/10.5840/traddisc1995/199622134.

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Čolakov, Nevena. "Art and visual arts". Sinteze, nr 14 (2018): 67–78. http://dx.doi.org/10.5937/sinteze7-17339.

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Winter, Irene J., i Henri Zerner. "Art and Visual Culture". Art Journal 54, nr 3 (1995): 42. http://dx.doi.org/10.2307/777582.

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Feinstein, Hermine. "Art as Visual Metaphor". Art Education 38, nr 4 (lipiec 1985): 26. http://dx.doi.org/10.2307/3192822.

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Rozprawy doktorskie na temat "Visual art"

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Lovar, Anette. "Experiencing visual art". Thesis, Högskolan i Skövde, Institutionen för biovetenskap, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-19430.

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Visual art is important for humans. Most people have an interest in visiting art museums, and they spend both time and money on artworks. Appreciating visual art can have an effect on several psychological states, such as pleasure, emotions of wonder, awe, and the sublime. However, the question of what constitutes an aesthetic experience and what mechanisms that are involved in experiencing visual art, are still not fully understood. The discipline neuroaesthetics, which is a subfield of cognitive neuroscience, investigates the biology behind aesthetic experience and aesthetic appreciation. The aim of this thesis is to give an overview of the neural processes involved in experiencing visual art, and to explore how it could be related to components of emotional well-being. As such, neuroimaging studies addressing aesthetic experience and emotional processing are reviewed and discussed. This thesis found a relationship between the neural processes that operate behind a broad range of positive valanced emotions and aesthetic experience. The findings show that experiencing visual art that are aesthetically appreciated by the viewer, induces feelings of hedonic niceness or pleasant well-being and is associated with increased activity in the reward circuit. How aesthetic appreciation affects our emotional and cognitive states respectively and enhances our physiological and psychological well-being remains to be investigated. Understanding the underlying neurobiological processes involved when experiencing visual art is important due to its implications on positive health and well-being.
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Taylor, Kristin Vanderlip. "Visual Art Communities of Practice| Cultivating Support for Beginning Visual Art Teachers". Thesis, Pepperdine University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10816921.

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Visual art teachers, from beginning to veteran, often report experiencing feelings of professional isolation and a desire for content-specific support and collaborative professional learning experiences. Mentoring and Induction Programs (IPs) offered by schools and districts continue to fall short of meeting the needs of beginning visual art teachers in particular. There are a large number of visual art teachers in the state of California, especially in Los Angeles County, yet there are no visual art specific support networks for beginning visual art teachers to help them navigate their first years teaching. Collaborative learning groups, such as communities of practice (CoP), may offer visual art teachers opportunities to learn together and support one another in shared learning, yet none have been formally documented in Los Angeles County as a means of supporting novice art educators. The Exploratorium in San Francisco, CA has established a community of practice called the Teacher Induction Program (TIP) to support beginning science teachers with content-specific pedagogy during their first two years of teaching. Using the TIP as a framework, a visual art professional growth support community was outlined for this study based on the needs and concerns of visual art teachers reported throughout the literature. Beginning visual art teachers in Los Angeles County were interviewed to help the researcher better understand their existing and desired supports, as well as their individual needs and concerns as new teachers. The visual art CoP was proposed to them to elicit feedback about its anticipated values (immediate, potential, applied) based on their lived experiences as first or second year PK-12 public school visual art teachers in Los Angeles County.

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Kelly, Shelly. "Not so/visual art". Thesis, Queensland University of Technology, 1999. https://eprints.qut.edu.au/35925/8/Shelly%20Kelly%20Thesis.pdf.

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Vision and language provide closure to a work and no reinstatement for the artwork's future. Vision and language make the investigative process seem replete; therefore other possibilities are not pursued. Subsequently, there is a need to investigate the perceptual and interpretative process as currently this is dominated by the visual and communicated through language. An examination of this, will show that a gap exists between our perception and our interpretation of an artwork. This gap is dependent on spatial and temporal conditions as the determining factors in our interpretative relationship with artwork. Examining and altering these conditions will lead to a fresh approach in our relationship with art. The qualities of these conditions are inseparable from the way we constitute space, in other words, what we know is inseparable from what we do. Therefore to change our directness in our application of perceiving will inevitably change what we know of an accepted process. Looking at ways of extending this gap between perception and interpretation will empower the space in this gap, and enable meaning to be dislocated and dispersed. This will be achieved by embracing a more experiential approach and allowing the artwork to sustain a more heterogeneous field. The aim of this thesis is to demonstrate alternative possibilities in approaching and interpreting a work of art by shifting conditional limitations.
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Ozturk, Turker Anthony. "Ezra Pound and visual art". Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.253814.

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Hawes, Robin J. "Art and visual perception : what value do contemporary theories of visual perception have for art practice?" Thesis, Cardiff Metropolitan University, 2014. http://hdl.handle.net/10369/6524.

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Muirheid, Amanda J. "Visual Culture within Comprehensive Art Education and Elementary Art Curriculum". Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/80.

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This thesis addresses why a comprehensive art education curriculum needs to merge with visual culture in order to better serve current elementary students today. The review of literature supports this theory and proves that the two approaches work together to make learning relevant and effective. The units of study provided make up a guideline that show teachers how to include visual culture into the current comprehensive art education structure. This allows students to bring their own ideas and experiences into the classroom, and results in making the visual arts more personal. Following this curriculum will help students own their education and ultimately gain higher level thinking and learning in the visual arts as well as other subject areas.
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Betz, Jennifer. "ASSESSMENT PRACTICES INELEMENTARY VISUAL ART CLASSROOMS". Doctoral diss., University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2625.

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The purpose of this research study was to investigate the attitudes and usages of assessment methods by elementary visual art teachers in two southeastern school districts. Data consisted of responses to a mailed survey instrument that included relevant demographic information pertaining to respondent’s educational preparation experiences, tabulation of classroom activities, assessment usage, and a construct set of questions which addressed an attitudinal scale about the effectiveness of evaluation and measurement within their visual art classrooms. The primary focus of attitudinal orientation toward assessment centered upon the types of role models respondents encountered regarding assessment during initial teacher preparation and the resulting paradigm of belief concerning measurement art teachers experienced in varied educational settings. Results indicate that study respondents had a strong positive response to the construct attitudinal statements about accepting evaluation as a normative practice in their classrooms. The survey item "multiple choice tests are appropriate to use in visual art classrooms" had a strong relationship to the total reliability and had the greatest impact on the factor analysis. Further relationships were identified in the use of newly adopted textbook curricula to the acceptance of the statement "learning could be measured in visual art," suggesting that if art teachers embraced a textbook curriculum (developed through an outside, expert entity) they were more likely to accept the possibility that learning in elementary visual art classrooms was possible to be measured. The relationship between the statements regarding the acceptance of multiple choice tests as a valid method of assessment and the recentness of either graduation from teacher preparation coursework or specific in-service professional development about assessment also suggests that pedagogy at the university and district level after The No Child Left Behind Act of 2001 was more likely to include instruction or role models in the practical use of assessment techniques for respondents.
Ed.D.
Department of Educational Studies
Education
Curriculum and Instruction EdD
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Trainer, Janette. "Art and ecology : a visual exploration". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2002. https://ro.ecu.edu.au/theses/852.

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Within the broad theme of art and ecology, local ecological issues were explored through studio practice involving digital imagery, print making, and mixed media. The frame of reference for the creative project included a discussion of the representations of natural, social and cultural environments' by visual artists. As an art educator interested in developing "best practice" including interdisciplinary approaches across the curriculum with an emphasis on visual arts education, the researcher explored the connections between art and ecological concerns. The Curriculum Framework for Kindergarten to Year 12 Education in Western Australia (1998) provided a sound basis for action. In particular, the Values Outcome, Environmental Responsibility and the Present and Future Condition, Global Environmental Issues have significance for this project. Further, The Arts Outcome, Communicating Arts Ideas is a reminder to visual arts educators that ideas, thoughts and feelings may be transformed into art works. In the primary school setting, engagement with ecological issues has the potential to involve students in both group and individual projects. As an art maker, the creative arts project draws on an area of personal significance. The property, Toodyay Gums, at Lot 11 on the Northam/Toodyay Road, in the Avon Valley, north east of Perth became the site for investigation, research and the generation of artworks. The roles of art educator and art maker are brought together in a research question that forms the 'focus of the Creative Arts Project; To what' extent does visual arts practice give rise to a fuller understanding of ecological issues and new insights into a specific site? Documentation for the creative project takes the form of an exegesis, journal entries, visual diaries, and art works. The techniques of print making, digital imagery and mixed media provided the means of representing concepts and layers of experience. The art works produced during the course of the Creative Arts Project were exhibited at The Churchlands Studios, Edith Cowan University, 12•19 December 2002.
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Fullerton, Jeanay. "VISUAL STAMP". Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4017.

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I create images in a painterly manner illustrating a visual dialog, which suggests simultaneous moments, yet are actually a separated collision of moments and time. I have stretched these ideas from a slowed manipulation of time, to a calculated capture of segmented moments. My work undermines the importance of the decisive moment theory. This theory was the catalyst for my new series, VISUAL STAMP. "The decisive moment, it is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as the precise organization of forms which gives that event its proper expression." - Henri Cartier-Bresson I am conveying space and time on a single plane in a similar way to how we perceive, process, and retain information visually. The discarded moments in our perception are what I am interested in capturing. We do not view life in a frozen millisecond. Contemporary modes of perception involve the sensorial experience of viewing thousands of movements in small bursts of time that are often left behind, and forgotten. By layering images I am illustrating gaps from one moment to the next. My interest in using the insignificant event to create an aesthetic has become a personal visual stamp. This series embraces the discarded aspects of our visual interpretation of the objects and places we see in everyday life.
M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
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Black, Edward A. "Verve for the visual Reformed and Presbyterian churches and visual display art /". Theological Research Exchange Network (TREN) Access this title online, 2005. http://www.tren.com.

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Książki na temat "Visual art"

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Camps i Montserrat Pagès, Jordi., Ylla-Català Gemma i González Teresa, red. Guia visual: Art romànic. Barcelona: Museu Nacional d'Art de Catalunya, 2002.

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Dillon, Lorna. Violeta Parra’s Visual Art. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-38407-4.

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Deborah, Cherry, red. Art : history : visual : culture. Malden, MA: Blackwell Pub., 2005.

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1943-, Cumming Robert, red. Art: A visual history. London: Dorling Kindersley Limited, 2015.

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Meyering, Lisa-Elen, i Robert W. Kentridge. Visual psychology of art. Abingdon, Oxon, UK: Routledge, 2020.

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Department of Education and Science. Arts education: Visual art. Dublin: Stationery Office, 2000.

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Visual art as theology. New York: P. Lang, 1994.

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Hatcher, Evelyn Payne. Visual metaphors: A methodological study in visual communication. Albuquerque: University of New Mexico Press, 1989.

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The visual arts. Oakville, Ont: Rubicon Pub., 2003.

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Britain), Classical Association (Great, red. Visual impact. London: Classical Association, 2005.

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Części książek na temat "Visual art"

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Hickman, Richard, i Rebecca. "Visual Art". W The SAGE Handbook of Curriculum, Pedagogy and Assessment: Two Volume Set, 343–57. 1 Oliver's Yard, 55 City Road London EC1Y 1SP: SAGE Publications Ltd, 2016. http://dx.doi.org/10.4135/9781473921405.n22.

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Allen, Rob, i Nina Krebs. "Visual Art". W Dramatic Psychological Storytelling, 82–92. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230800557_9.

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Taylor, Jeffrey. "Art history, art criticism, and the art press". W Visual Arts Management, 103–10. New York : Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315543666-12.

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Taylor, Jeffrey. "Art fairs". W Visual Arts Management, 71–78. New York : Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315543666-8.

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Anderson, E. N., i Raymond Pierotti. "The Visual Art". W Studies in Human Ecology and Adaptation, 251–60. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-15586-4_12.

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Taylor, Jeffrey. "Primary Art Market". W Visual Arts Management, 11–20. New York : Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315543666-2.

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Taylor, Jeffrey. "Secondary Art Market". W Visual Arts Management, 21–28. New York : Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315543666-3.

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van Deursen, N. E. "Cybersecurity art". W Visual Communication for Cybersecurity, 134–38. New York: River Publishers, 2022. http://dx.doi.org/10.1201/9781003340027-23.

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Grushka, Kathryn, i Nicole Curtis. "Visual Art, Visual Design and Numeracy". W Numeracy in Authentic Contexts, 423–53. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-5736-6_18.

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Navas, Eduardo. "Visual Aurality". W Art, Media Design, and Postproduction, 89–97. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315453255-11.

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Streszczenia konferencji na temat "Visual art"

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Cai, D., S. Mochiuki, Y. Wang, N. Asai i A. Fukumoto. "Visual Zen art". W SIGGRAPH 2009: Talks. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1597990.1598024.

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"[Cover art]". W 2010 Conference on Visual Media Production (CVMP 2010). 7th European Conference on Visual Media Production. IEEE, 2010. http://dx.doi.org/10.1109/cvmp.2010.31.

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Walker, Todd. "Art show 2". W ACM SIGGRAPH 92 Visual Proceedings. New York, New York, USA: ACM Press, 1992. http://dx.doi.org/10.1145/131340.260548.

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Grimes, John, i Gray Lorig. "Art Show animation". W ACM SIGGRAPH 92 Visual Proceedings. New York, New York, USA: ACM Press, 1992. http://dx.doi.org/10.1145/131340.260556.

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"Cover Art". W 2011 Conference for Visual Media Production (CVMP). IEEE, 2011. http://dx.doi.org/10.1109/cvmp.2011.28.

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Omar, Nur Umairaa, Wan Samiati Andriana Wan Mohamad Daud i Siti Maaruf. "Art Appreciation Session in Visual Art Education". W Proceedings of the 2nd International Conference on Design Industries & Creative Culture, DESIGN DECODED 2021, 24-25 August 2021, Kedah, Malaysia. EAI, 2022. http://dx.doi.org/10.4108/eai.24-8-2021.2315295.

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Barbulov Popov, Daniela. "ASPECTS OF VISUAL ART". W 2013 International Conference on Advanced ICT. Paris, France: Atlantis Press, 2013. http://dx.doi.org/10.2991/icaicte.2013.39.

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Shamsuddeen, Shazani, i Wan Samiati Andriana W M D. "Batik in Visual Art". W Proceedings of the 2nd International Conference on Design Industries & Creative Culture, DESIGN DECODED 2021, 24-25 August 2021, Kedah, Malaysia. EAI, 2022. http://dx.doi.org/10.4108/eai.24-8-2021.2315171.

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Park, Jin Wan, i Gyuwan Choe. "Visual Genealogy". W ACM SIGGRAPH 2009 Art Gallery. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1667265.1667309.

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Offenhuber, Dietmar. "Visual anecdote". W ACM SIGGRAPH 2010 Art Gallery. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1836786.1836792.

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Raporty organizacyjne na temat "Visual art"

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Galenson, David. Language in Visual Art: The Twentieth Century. Cambridge, MA: National Bureau of Economic Research, marzec 2008. http://dx.doi.org/10.3386/w13845.

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Petrie, Christopher, i Katija Aladin. Spotlight: Visual Arts. HundrED, grudzień 2020. http://dx.doi.org/10.58261/azgu5536.

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HundrED and Supercell believe that fostering Visual Art skills can be just as important as numeracy and literacy. Furthermore, we also believe that Visual Arts can be integrated into all learning in schools and developed in a diversity of ways. To this end, the purpose of this project is to shine a spotlight, and make globally visible, leading education innovations from around the world doing exceptional work on developing the skill of Visual Arts for all students, teachers, and leaders in schools today.
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Galenson, David. Portraits of the Artist: Personal Visual Art in the Twentieth Century. Cambridge, MA: National Bureau of Economic Research, kwiecień 2008. http://dx.doi.org/10.3386/w13939.

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Fernández, Iván Escobar. COMTOG Report: ‘My Memory of Us’ — Boosting Historical Memory Through Implicit Visual Metaphors. European Center for Populism Studies (ECPS), kwiecień 2023. http://dx.doi.org/10.55271/rp0037.

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My Memory of Us is a narrative-driven puzzle-adventure video game developed by Juggler Games. The game is set in a fictional version of Poland during World War II and tells the story of a young boy and girl who must navigate through a city that has been divided into two parts: one for Jews and one for non-Jews. The game features hand-drawn art, puzzle-solving, and stealth elements, as well as a unique memory-manipulation mechanic that allows players to change the past to solve puzzles and progress through the story. The game received positive reviews for its story and art. Overall, My Memory of Us is a touching and emotional game that tells a story of friendship, love, and survival during a war.
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Mills, Kathy, Elizabeth Heck, Alinta Brown, Patricia Funnell i Lesley Friend. Senses together : Multimodal literacy learning in primary education : Final project report. Institute for Learning Sciences and Teacher Education, Australian Catholic University, 2023. http://dx.doi.org/10.24268/acu.8zy8y.

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[Executive summary] Literacy studies have traditionally focussed on the seen. The other senses are typically under-recognised in literacy studies and research, where the visual sense has been previously prioritised. However, spoken and written language, images, gestures, touch, movement, and sound are part of everyday literacy practices. Communication is no longer focussed on visual texts but is a multisensory experience. Effective communication depends then on sensory orchestration, which unifies the body and its senses. Understanding sensory orchestration is crucial to literacy learning in the 21st century where the combination of multisensory practices is both digital and multimodal. Unfortunately, while multimodal literacy has become an increasing focus in school curriculum, research has still largely remained focussed on the visual. The Sensory Orchestration for Multimodal Literacy Learning in Primary Education project, led by ARC Future Fellow Professor Kathy Mills, sought to address this research deficit. In addressing this gap, the project built an evidence base for understanding how students become critical users of sensory techniques to communicate through digital, virtual, and augmented-reality texts. The project has contributed to the development of new multimodal literacy programs and a next-generation approach to multimodality through the utilisation of innovative sensorial education programs in various educational environments including primary schools, digital labs, and art museums.
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Yan, Yujie, i Jerome F. Hajjar. Automated Damage Assessment and Structural Modeling of Bridges with Visual Sensing Technology. Northeastern University, maj 2021. http://dx.doi.org/10.17760/d20410114.

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Recent advances in visual sensing technology have gained much attention in the field of bridge inspection and management. Coupled with advanced robotic systems, state-of-the-art visual sensors can be used to obtain accurate documentation of bridges without the need for any special equipment or traffic closure. The captured visual sensor data can be post-processed to gather meaningful information for the bridge structures and hence to support bridge inspection and management. However, state-of-the-practice data postprocessing approaches require substantial manual operations, which can be time-consuming and expensive. The main objective of this study is to develop methods and algorithms to automate the post-processing of the visual sensor data towards the extraction of three main categories of information: 1) object information such as object identity, shapes, and spatial relationships - a novel heuristic-based method is proposed to automate the detection and recognition of main structural elements of steel girder bridges in both terrestrial and unmanned aerial vehicle (UAV)-based laser scanning data. Domain knowledge on the geometric and topological constraints of the structural elements is modeled and utilized as heuristics to guide the search as well as to reject erroneous detection results. 2) structural damage information, such as damage locations and quantities - to support the assessment of damage associated with small deformations, an advanced crack assessment method is proposed to enable automated detection and quantification of concrete cracks in critical structural elements based on UAV-based visual sensor data. In terms of damage associated with large deformations, based on the surface normal-based method proposed in Guldur et al. (2014), a new algorithm is developed to enhance the robustness of damage assessment for structural elements with curved surfaces. 3) three-dimensional volumetric models - the object information extracted from the laser scanning data is exploited to create a complete geometric representation for each structural element. In addition, mesh generation algorithms are developed to automatically convert the geometric representations into conformal all-hexahedron finite element meshes, which can be finally assembled to create a finite element model of the entire bridge. To validate the effectiveness of the developed methods and algorithms, several field data collections have been conducted to collect both the visual sensor data and the physical measurements from experimental specimens and in-service bridges. The data were collected using both terrestrial laser scanners combined with images, and laser scanners and cameras mounted to unmanned aerial vehicles.
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Näslund-Hadley, Emma. An Equal Start: Numeracy Education in Latin America and the Caribbean. Inter-American Development Bank, czerwiec 2010. http://dx.doi.org/10.18235/0005962.

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This art exhibit, held at IDB's headquarters on June 7-11, 2010, embodies the hope and aspiration that all students will gain a level of numeracy essential for successful participation in school, work and everyday life. The artworks on exhibit were selected from over 250 pieces submitted by artists representing nineteen Latin American and Caribbean countries. The exhibition constitutes the visual launch of a new IDB effort focused on implementing policies that help children reach their full potential in mathematics and natural science.
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Schonfeld, Roger. The Visual Resources Environment at Liberal Arts Colleges. New York: NITLE, sierpień 2015. http://dx.doi.org/10.18665/sr.22338.

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Burks, Thomas F., Victor Alchanatis i Warren Dixon. Enhancement of Sensing Technologies for Selective Tree Fruit Identification and Targeting in Robotic Harvesting Systems. United States Department of Agriculture, październik 2009. http://dx.doi.org/10.32747/2009.7591739.bard.

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The proposed project aims to enhance tree fruit identification and targeting for robotic harvesting through the selection of appropriate sensor technology, sensor fusion, and visual servo-control approaches. These technologies will be applicable for apple, orange and grapefruit harvest, although specific sensor wavelengths may vary. The primary challenges are fruit occlusion, light variability, peel color variation with maturity, range to target, and computational requirements of image processing algorithms. There are four major development tasks in original three-year proposed study. First, spectral characteristics in the VIS/NIR (0.4-1.0 micron) will be used in conjunction with thermal data to provide accurate and robust detection of fruit in the tree canopy. Hyper-spectral image pairs will be combined to provide automatic stereo matching for accurate 3D position. Secondly, VIS/NIR/FIR (0.4-15.0 micron) spectral sensor technology will be evaluated for potential in-field on-the-tree grading of surface defect, maturity and size for selective fruit harvest. Thirdly, new adaptive Lyapunov-basedHBVS (homography-based visual servo) methods to compensate for camera uncertainty, distortion effects, and provide range to target from a single camera will be developed, simulated, and implemented on a camera testbed to prove concept. HBVS methods coupled with imagespace navigation will be implemented to provide robust target tracking. And finally, harvesting test will be conducted on the developed technologies using the University of Florida harvesting manipulator test bed. During the course of the project it was determined that the second objective was overly ambitious for the project period and effort was directed toward the other objectives. The results reflect the synergistic efforts of the three principals. The USA team has focused on citrus based approaches while the Israeli counterpart has focused on apples. The USA team has improved visual servo control through the use of a statistical-based range estimate and homography. The results have been promising as long as the target is visible. In addition, the USA team has developed improved fruit detection algorithms that are robust under light variation and can localize fruit centers for partially occluded fruit. Additionally, algorithms have been developed to fuse thermal and visible spectrum image prior to segmentation in order to evaluate the potential improvements in fruit detection. Lastly, the USA team has developed a multispectral detection approach which demonstrated fruit detection levels above 90% of non-occluded fruit. The Israel team has focused on image registration and statistical based fruit detection with post-segmentation fusion. The results of all programs have shown significant progress with increased levels of fruit detection over prior art.
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Poloboc, Alina. Fancy Lollipop. Intellectual Archive, grudzień 2023. http://dx.doi.org/10.32370/iaj.2997.

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"Fancy Lollipop" is a vibrant and energetic artwork featuring a blend of bold and bright colors. The color palette, which includes shades of blue, pink, and black, creates a sense of drama and theatricality in the piece. The colors are strategically placed in the composition to emphasize key elements of the image, such as the main character, Fancy Lollipop. Speaking of the main character, Fancy Lollipop is depicted as an extravagant and self-assured individual. Their presence in the artwork is unmistakable, and their confident and assured stance reflects their bold and attention-grabbing personality. The use of quick, expressive brushstrokes in their figure creates a sense of movement and energy, further enhancing the feeling of spectacle and showmanship in the piece. Overall, "Fancy Lollipop" is an impressive example of contemporary art that draws on real-life characters encountered by the artist during their stay in Miami. The artwork offers an immersive visual experience that captures the viewer`s attention with its colorful and energetic composition, and is sure to leave a lasting impression on those who encounter it.
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