Bibliografias temáticas / Visual

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Literatura científica selecionada sobre o tema "Visual"

Autor: Grafiati
Publicado: 4 de junho de 2021
Última modificação: 30 de julho de 2024

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Artigos de revistas sobre o assunto "Visual"

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Farné, Roberto. "Pedagogia Visuale/Visual Pedagogy". Proceedings 1, n.º 9 (24 de novembro de 2017): 872. http://dx.doi.org/10.3390/proceedings1090872.

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Deterline, William. "Visuals: 3. Avoiding visual trips". Performance + Instruction 28, n.º 8 (setembro de 1989): 42–46. http://dx.doi.org/10.1002/pfi.4170280813.

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Bonifaci, Gabrielle. "Visual Babble Polyglot / Babil visuel polyglotte". ti< 2, n.º 1 (7 de abril de 2013): 3–4. http://dx.doi.org/10.26522/ti.v2i1.696.

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Ruiz-Conejo, Rafael, e orge Buenabad-Chávez. "Tempo visual". Revista de Investigación en Tecnologías de la Investigaión 1, n.º 1 (19 de fevereiro de 2013): 18–22. http://dx.doi.org/10.36825/riti.01.01.004.

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Liu, Yiwei, e Kun Ning. "Critical Visual Analysis". Lecture Notes in Education Psychology and Public Media 5, n.º 1 (17 de maio de 2023): 211–16. http://dx.doi.org/10.54254/2753-7048/5/20220481.

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The paper explained the use of critical visual analysis for understanding and contextualizing the images as well as applied the theories of visual consumption and social semiotics to analyze certain visual materials. Furthermore, this study examined the visual representations of refugees and immigrants who faced atrocities at the time of the partition of the Subcontinent along with the Mongol leader who was responsible for the largest empire in history. The research aimed at answering the question related to the significance of visual communication and critical visual analysis for comprehending those visuals. The paper used qualitative methods of research to answer the research question. Critical visual analysis helps not only in describing the physical features of the images but also in interpreting the notion and meaning behind the visuals. In todays technologically advanced world, visuals have gained prominence in the aspects of advertisement and meaning explanation. Therefore, critical visual analysis is paramount in this era.
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Kabeer, Dilshith Azeezul, Binthu Mathavan, Pankaj Kumar, Nafih Cherappurath e Vinu W. "Vision Management in Adolescents with Visually Impaired: The Effect of Yogic Visual Concentration". Physical rehabilitation and recreational health technologies 9, n.º 2 (30 de março de 2024): 61–65. http://dx.doi.org/10.15391/prrht.2024-9(2).03.

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According to World Health Organization (WHO), 314 million individuals worldwide suffer from some degree of vision impairment. Yoga is an effective intervention for the purification and preparation of the body. The leading cleaning practices such as yoga postures, breathing control, and meditation, among others. These techniques include a yogic visual concentration technique known as Trataka. According to certain studies, yogic visual concentration improves eyesight. However, the immediate effect of trataka on visual acuity in adolescents with the visually impaired has not been investigated. Purpose. The present study investigated the effect of 6 weeks of trataka training on visual acuity in visually impaired adolescents. Material & Methods. The study used a single group, before/after design, with ten visually challenged adolescents (Mage=16.5 years; SD=1.5; range 15-18 years) participating in a 6-week trataka training. In clinical settings, the Snellen chart is the most used tool for determining a participant's level of visual acuity. Results. The outcome score for left eyesight (44.44 per cent) and right eyesight (50.43 per cent) improved significantly. Furthermore, paired t-test findings revealed significant improvement in both left eyesight (p<0.001; ES=0.87) and right eyesight (p<0.001; ES=0.83) following 6 weeks of trataka training. Conclusions. The findings of this study objectively show that the yogic visual concentration training may be more effective in adolescents with the visually impaired. Future studies with larger sample size and a more substantial research design based on objective variables are required to strengthen the study's conclusions.
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Green, Marc. "Visual search, visual streams, and visual architectures". Perception & Psychophysics 50, n.º 4 (julho de 1991): 388–403. http://dx.doi.org/10.3758/bf03212232.

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GREGORY, DOMINIC. "Visual Imagery: Visual Format or Visual Content?" Mind & Language 25, n.º 4 (20 de agosto de 2010): 394–417. http://dx.doi.org/10.1111/j.1468-0017.2010.01395.x.

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Larrea Solórzano, Andrea Daniela, Iván Patricio Álvarez Lizano, Pablo Ricardo Morales Fiallos e Carolina Elizabeth Maldonado Chérrez. "Salasaca visual taxonomy." Medwave 23, S1 (1 de setembro de 2023): eUTA336. http://dx.doi.org/10.5867/medwave.2023.s1.uta336.

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Introducción Conservar el patrimonio cultural es un tema recurrente en las políticas estatales, en el caso ecuatoriano, la Constitución Nacional reconoce la existencia de un Estado plurinacional, pluricultural y multiétnico. Para las poblaciones indígenas, el patrimonio cultural -tangible e intangible- es una de las formas de retratar su identidad, misma que está profundamente arraigada en procesos históricos y es fundamental para su vida comunitaria. La emergencia sanitaria determinada en el año 2020 por la Organización Mundial de la Salud debido al coronavirus, provocó que a nivel global se pause la presencialidad en la mayoría de las actividades, incluyendo las educativas. En este sentido la virtualidad se convirtió en un escenario en dónde la enseñanza se adaptó con sus correspondientes particularidades en distintas áreas, continuando de esta manera con sus actividades formativas. En el caso del aprendizaje del diseño, específicamente el taller proyectual y las matemáticas en el área básica, la tecnología permitió que tanto maestro y alumnos se adecúen a nuevas realidades y también herramientas, en dónde el lenguaje audiovisual se desarrolló sin precedentes. Desde esta perspectiva el enfoque del presente estudio se encuentra en la resignificación del papel del docente en el contexto de la virtualidad por medio de la enseñanza del taller proyectual y las matemáticas, tomando en cuenta las limitaciones y eventualidades que caracterizó la pandemia. Objetivos Definir los criterios de clasificación iconográfica en función de las características estéticas propias de la producción artística salasaca. Método Lectura y análisis de fuentes bibliográficas. Elaboración de fichas de componentes estéticos y estilísticos. Matriz de contraste de elementos teóricos y visuales. Principales resultados Clasificación taxonómica de las representaciones visuales presentes en los bordados y las pinturas salasacas. Conclusiones El presente estudio forma parte de un proyecto de investigación global que aspira reconocer los sentidos expuestos en la iconografía salasaca. En este momento se elaborará una clasificación taxonómica sobre la iconografía presente en los bordados y las pinturas salasacas.
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Edmiston, Pierce, e Gary Lupyan. "Visual interference disrupts visual and only visual knowledge". Journal of Vision 15, n.º 12 (1 de setembro de 2015): 10. http://dx.doi.org/10.1167/15.12.10.

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Teses / dissertações sobre o assunto "Visual"

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Deplancke, Antoine. "Approche psychophysique des dissociations perception-action : effet de la détection de distracteurs au seuil sur l’atteinte de cibles visuelles". Thesis, Lille 3, 2012. http://www.theses.fr/2012LIL30033/document.

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La théorie dominante suggérant une séparation entre une vision consciente pour la perception et une vision non consciente pour l'action au sein du système visuel fut particulièrement discutée au cours des dernières décennies. La thèse défendue ici se positionne dans le cadre d'une approche alternative reposant sur une évaluation conjointe des réponses motrice et perceptive en présence de stimuli au seuil perceptif. Les travaux réalisés dans ce contexte ont initialement porté sur les temps de réaction et ont contribué au développement d'un modèle psychophysique postulant que les réponses perceptives et motrices dépendraient d'un signal sensoriel unique mais de seuils de décision spécifiques. Les trois études réalisées au cours de cette thèse ont permis de tester ces propositions à partir de travaux portant sur le contrôle moteur manuel. Tout en confirmant une forte association entre les traitements visuels pour la perception et pour l'action, ces travaux ont permis de mettre en évidence un rôle important des conditions expérimentales (par exemple le contraste des stimuli et la présence ou non d'un masque visuel) dans les résultats obtenus. Les résultats se sont révélés compatibles avec les modèles neurophysiologiques du masquage visuel qui postulent que la réponse neurale à une stimulation visuelle est constituée d'une vague d'activation feedforward associée à la présence physique de la stimulation et de boucles de rétroaction liées à la perception consciente de celle-ci. Nos travaux ont également permis d'adapter au contrôle moteur manuel le modèle de décision à signal unique initialement développé dans le cadre des études portant sur les temps de réaction
The dominant position of a separation between a conscious vision for perception and an unconscious vision for action within the visual system has been particularly discussed in the last decades. The present dissertation is to be placed in the context of an alternative approach consisting in evaluating jointly both perceptual and motor responses in the presence of near-treshold visual stimuli. Previous work within this framework, which have mainly concerned reaction times, have contributed to develop a psychophysical model in which perceptual and motor decision are taken relatively to the same single incoming signal but are based on different tresholds. The three studies conducting during this PhD aimed to testing these proposals in experiments involving manual motor control. While confirming the strong link between perceptual and motor processing within the visual system, the results obtained in these studies underlined the importance of experimental parameters such as the contrast of the stimuli and the presence of visual masks. These results are congruent with neurophysiological models of visual masking, which postulate that the neural response to a visual stimulus is composed of a transient feedforward sweep of activation related to the presence of as stimulus and recurrent feedback loops linked to the conscious perception of this stimulus. Our work also led to the adaptation to manual motor control of the single signal decisional model initially developed on the basis of reaction time studies
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Delabarre, Bertrand. "Contributions to dense visual tracking and visual servoing using robust similarity criteria". Thesis, Rennes 1, 2014. http://www.theses.fr/2014REN1S124/document.

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Dans cette thèse, nous traitons les problèmes de suivi visuel et d'asservissement visuel, qui sont des thèmes essentiels dans le domaine de la vision par ordinateur. La plupart des techniques de suivi et d'asservissement visuel présentes dans la littérature se basent sur des primitives géométriques extraites dans les images pour estimer le mouvement présent dans la séquence. Un problème inhérent à ce type de méthode est le fait de devoir extraire et mettre en correspondance des primitives à chaque nouvelle image avant de pouvoir estimer un déplacement. Afin d'éviter cette couche algorithmique et de considérer plus d'information visuelle, de récentes approches ont proposé d'utiliser directement la totalité des informations fournies par l'image. Ces algorithmes, alors qualifiés de directs, se basent pour la plupart sur l'observation des intensités lumineuses de chaque pixel de l'image. Mais ceci a pour effet de limiter le domaine d'utilisation de ces approches, car ce critère de comparaison est très sensibles aux perturbations de la scène (telles que les variations de luminosité ou les occultations). Pour régler ces problèmes nous proposons de nous baser sur des travaux récents qui ont montré que des mesures de similarité comme la somme des variances conditionnelles ou l'information mutuelle permettaient d'accroître la robustesse des approches directes dans des conditions perturbées. Nous proposons alors plusieurs algorithmes de suivi et d'asservissement visuels directs qui utilisent ces fonctions de similarité afin d'estimer le mouvement présents dans des séquences d'images et de contrôler un robot grâce aux informations fournies par une caméra. Ces différentes méthodes sont alors validées et analysées dans différentes conditions qui viennent démontrer leur efficacité
In this document, we address the visual tracking and visual servoing problems. They are crucial thematics in the domain of computer and robot vision. Most of these techniques use geometrical primitives extracted from the images in order to estimate a motion from an image sequences. But using geometrical features means having to extract and match them at each new image before performing the tracking or servoing process. In order to get rid of this algorithmic step, recent approaches have proposed to use directly the information provided by the whole image instead of extracting geometrical primitives. Most of these algorithms, referred to as direct techniques, are based on the luminance values of every pixel in the image. But this strategy limits their use, since the criteria is very sensitive to scene perturbations such as luminosity shifts or occlusions. To overcome this problem, we propose in this document to use robust similarity measures, the sum of conditional variance and the mutual information, in order to perform robust direct visual tracking and visual servoing processes. Several algorithms are then proposed that are based on these criteria in order to be robust to scene perturbations. These different methods are tested and analyzed in several setups where perturbations occur which allows to demonstrate their efficiency
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de, Cabo Portugal Sebastian. "Non Visuals : Material exploration of non-visual interaction design". Thesis, Umeå universitet, Designhögskolan vid Umeå universitet, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-182466.

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Design is all about visuals, or that is what I have found out during this thesis, from the process materials to the outcome our main entry point to any problem is how will we solve it visually so it’s understandable for the general user. This aspect is problematic in itself due to the fact that we, as humans, understand the world and the things around using all our senses continuously, even though we can forget as visuals are so overpowering. There is a huge opportunity area in exploring our other senses and bringing them back to technology, and this can be seen in works in the past like Tangible Interactions [1] or Natural User Interfaces [2]. But in this moment in time, where all these new technologies like VR/AR and IoT are about to enter our lives and change them forever, this topic is more important than ever. We have already seen what happens when we turn humans into mere machines with some fingers as interactive inputs, and barely any senses to process all the information given to us. Now that these technologies are still young and malleable, we can direct the future to where we want it instead of being guided by the technology itself. To do this we need to reimagine the design process, not reinvent the wheel, but add experts which we currently leave behind and I argue are key to unlock these technologies, experts not only of the technological side of things but on the human side too, like physiotherapists and dancers. Add also people who we never think about when we think of VR like visually impaired users, which could make these technologies inclusive since early on, instead of as an afterthought like we usually do. Not only people, but we also need to add new materials to understand how we use our senses and explore ways that we can understand and explore them differently; like bodystorming and improv theatre because when things aren’t visual, how do you sketch it? A sketch turns into a video about movement. The end result provides a wide breadth of examples of the types of innovations that can come out of using these new design materials, and to open new frontiers. From a VR game with no visuals whatsoever to an AR location based story game, to a home sized multimodal operating system containing several different apps controlled through physical movement. The examples open up the space instead of closing into a single solution. This is just the tip of the iceberg, a hope that others will be inspired by it and continue with this journey that has just started, to guide the future into one that is more technological and at the same time more human than ever before. What we know is that VR does not equate Visual Reality.
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Camargo, Marina von Zuben de Arruda. "Propriedades espaço-temporais da acuidade vernier no córtex visual humano usando potenciais visuais provocados de varredura". Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/47/47135/tde-12062012-160008/.

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Esta pesquisa pretendia estabelecer um mapa espaço temporal das respostas de vernier no córtex visual humano. O uso do potencial visual provocado de varredura (PVPv) proporciona medidas eficientes e sensíveis dos limiares de vernier com os quais se pode começar a examinar as respostas corticais de vernier no âmbito dos parâmetros espaço temporais. As respostas de vernier foram avaliadas em relação à hipótese de que os sinais retinianos provenientes das células ganglionares da via magnocelular e não da via parvocelular compõem o input neural para córtex que é utilizado para gerar as respostas de vernier (tarefas de localização de alta precisão Lee et a., 1990; Lee et al., 1995). Métodos: As respostas de vernier no córtex humano foram medidas por meio do potencial visual provocado de varredura (PVPv). Quebras de vernier foram introduzidas em grades de ondas quadradas de produzindo colunas verticais intercaladas de barras estáticas e móveis. Medidas binoculares da acuidade vernier foram feitas em grades de alto contraste (64%) em função de 3 frequências temporais (3, 6 e 15 Hz) e 2 frequências espaciais (1 e 8 c/g). Medidas utilizando grades de baixo contraste foram feitas em função de 3 frequências temporais (3, 6 e 10Hz) e 3 frequências espaciais (1, 2 e 8c/g) em ambos os protocolos (alto e baixo contraste) as medidas foram feitas utilizando o PVPv. Foi utilizado o sistema POWER DIVA que utiliza a metodologia dos mínimos quadrados recursivos para extrair a amplitude e fase da resposta nos harmônicos selecionados da frequência do estímulo. Foram analisados o primeiro (1F1) e o segundo (2F1) harmônicos neste estudo. Com base em estudos anteriores, assume-se que o primeiro componente harmônico refere-se às respostas ao estímulo de vernier, e o segundo às respostas ao movimento relativo dos elementos do estímulo. Esta hipótese foi testada por meio da utilização de protocolos controle para ambos os arranjos de estímulos (alto e baixo contraste) em que foram utilizados os mesmos parâmetros, porém com deslocamentos entre as barras completamente simétricos (elementos da grade jamais se alinhavam). O sistema POWER DIVA calcula para cada segundo de janela de análise (bin) a amplitude local. A amplitude média do ruído nos 10 bins de análise é utilizada para calcular a razão sinal ruído para cada bin. Apenas sinais com razão sinal ruído maior que 3 foram considerados resposta. A média vetorial de 8 tentativas para cada condição de estímulo foi utilizada para determinar os limiares.Resultados: Os dados são consistentes com dados psicofísicos anteriores, especialmente os dados de Bradley & Skottun (1987) que demonstraram decréscimo significativo nos limiares de vernier com o aumento da frequência espacial. Os limiares eletrofisiológicos de vernier obtidos com o presente trabalho mostraram-se paralelos aos dados psicofísicos em função das frequências espaciais em ambos os protocolos. Os limiares no 1F1 também demonstraram redução significativa com o aumento da frequência temporal em altas frequências espaciais
The research was directed at establishing a spatiotemporal map of human cortical vernier responses. The use of swept-parameter, steady state visual evoked potential (sweep VEP, or sVEP) provides efficient and sensitive measurement of vernier thresholds with which to begin to examine cortical vernier responses over the spatio-temporal parameter space. The vernier responses were evaluated in relation to the hypothesis that the magnocellular (M) but not parvocellular (P) ganglion cell retinal output forms the neural input to cortex that is used to derive vernier (high precision localization task - Lee et al., 1990; Lee et al., 1995). Methods: Human cortical vernier responses were measured using the sweep visual evoked potential (sVEP). Vernier offsets are introduced into a square wave grating producing interleaved vertical columns of moving and static bars. Binocular measurements of the vernier acuity were made using high contrast (64%) gratings as a function of 3 temporal frequencies (TF = 3, 6 and 15 Hz) and 2 spatial frequencies (SF = 1 and 8 c/g). Measurements were also made at low contrast (8%) as a function of 3 temporal frequencies (3, 6 and 10Hz) and 3 spatial frequencies (1, 2 and 8c/g) using the sVEP. The POWER DIVA system uses the recursive least squares to extract the response amplitude and phase at selected harmonics of the stimulus frequency. We analyzed the evoked potentials at the first (1F1 fundamental) and second (2F1) harmonics. Based on prior research, we take the 1F1 component to be the specific response to the periodic vernier onset/offset, while the 2F1 component reflects local relative motion responses. We checked this assumption by also measuring sVEPs using a motion control protocol in which equivalent displacement amplitudes were presented in and identical stimulus array, but with the displacements being completely symmetrical alternations between two states of misalignment (grating elements were never aligned). To ensure that the amplitude data used for the regression and extrapolation to threshold is really a response to stimulus instead of noise, POWER DIVA calculates, for each 1-second analysis window (time bin), a local noise amplitude. The mean noise amplitude across 10 analysis bins is used to calculate the signal to noise ratio for each time bin. Only signals with a signal to noise ratio > 3 were considered as a response. The vector average of at least 8 trials was used to determine thresholds. Results: The data are consistent with some comparable prior psychophysical data, especially data from Bradley & Skottun (1987) who showed significant decrease in the vernier thresholds with the increase of spatial frequency. Our cortical (sVEP) vernier thresholds paralleled the psychophysical data as a function of SF in both protocols. The 1F1 (vernier) thresholds also exhibited a significant decrease with increase of temporal frequency at high SF
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Shah, Neet. "Visual Field Analysis for Functional Visual Loss". Thesis, The University of Arizona, 2018. http://hdl.handle.net/10150/626887.

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Chronicle, Edward Peter. "Visual discomfort and visual dysfunction in migraine". Thesis, University of Cambridge, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.283940.

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Nelson, Patricia. "Visual Function and Visual Disability in Glaucoma". Thesis, Heriot-Watt University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.518609.

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Candido, Jacqueline P. Haslam Elizabeth L. "Visual impairment in a visual medium perspectives of online learners with visual impairments /". Philadelphia, Pa. : Drexel University, 2008. http://hdl.handle.net/1860/2932.

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Senos, Ricardo Jorge Grilo Marques. "Repensar a educação visual, falando de contemporaneidade: o propósito da literacia visual". Master's thesis, Universidade de Aveiro, 2014. http://hdl.handle.net/10773/14757.

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Mestrado em Ensino de Artes Visuais no 3º Ciclo do Ensino Básico e no Ensino Secundário
A evolução das sociedades contemporâneas, na qual a comunicação visual tem papel de destaque através dos mais variados aparatos tecnológicos, criou um novo e complexo contexto de informação e uma consequente necessidade de descodificação e interpretação dessa mesma realidade. Neste sentido, considerando a escola como uma das organizações de maior relevância na transmissão de saberes, este estudo pretende alertar para a importância da Educação Visual, partindo das concepções relativas à literacia visual, condição imprescindível ao desenvolvimento das futuras gerações. O relatório tem por base um caso prático, formalizado numa unidade de trabalho implementada numa turma do 8ºano de escolaridade da Escola Secundária João Carlos Celestino Gomes, em Ílhavo, e que implica o desenvolvimento de uma marca e respetivo logótipo, com o objetivo de reforçar o papel da literacia visual, decisiva para a construção de cultura visual nos jovens alunos. A pesquisa demonstra a imprescindibilidade dessas mesmas competências, enquanto ferramenta pedagógica, integradora de vários saberes, capaz de despertar vontades mais autónomas, críticas e empreendedoras enquanto assistimos às metamorfoses vertiginosas da contemporaneidade.
The evolution of contemporary societies, where visual communication plays a prominent role through various technological devices, has created a new and complex information context, and a consequent need for decoding and interpretation of that reality. In this sense, considering the School as one of the most significant organizations in the transmission of knowledge, this study aims to draw attention to the importance of Visual Education, based on the conceptions related to visual literacy, an essential condition to the development of future generations. The report is based on a practical case, formalized in a work unit implemented in a 8th grade class at Secondary School João Carlos Celestino Gomes, in Ílhavo, which leads to the development of a brand and respective logo with the aim of strengthening the role of visual literacy, decisive for building a visual culture in young students. The research shows the absolute need of these same skills, while educational tool, integrating multiple knowledges and capable of awakening more autonomous, critical and entrepreneurial wills, while we watch the vertiginous metamorphoses of contemporaneity.
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Oliveira, Jociele Lamper de. "Arte contemporânea, cultura visual e formação docente". Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-19112010-092340/.

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Esta pesquisa foi desenvolvida no Programa de Pós-Graduação em Artes Visuais, na Área de Concentração Teoria, Ensino e Aprendizagem da Arte, na Linha de Pesquisa Fundamentos do Ensino e Aprendizagem da Arte, da Escola de Comunicações e Artes da Universidade de São Paulo. Objetivou investigar aspectos que decorrem das inter-relações entre Artes Visuais, cultura visual e formação docente, que compreendem a prática educativa e a prática artística. A partir destes pontos de tensões, aponta-se a imagem da moda em confluência com o ensino de arte na prática do estágio curricular supervisionado, podendo sugerir e impulsionar formas de ensino e aprendizagem autônomas e colaborativas na formação do artista/professor/pesquisador em Artes Visuais. Aborda-se uma reflexão teórica voltada para a cultura visual, bem como para as derivações sobre arte relacional e processo criativo. Desta forma a pesquisa pautou-se sobre alguns aspectos reflexivos da artografia, bem como sobre da arte relacional, entendendo um conjunto de práticas artísticas que tomam como ponto de partida (teórico e prático) as relações humanas e seu contexto social.
This research was developed in the Graduation Program in Visual Arts of the Arts and Communication School of the University of Sao Paulo, concentration area of Art Theory, Teaching and Learning, and research interest The Fundamentals of Art Teaching and Learning. It aimed to investigate the aspects that elapse from the interrelations among Visual Arts, Visual Culture and Faculty Formation, which comprehend the educational and artistic practice. From these tension points, it aims the fashion image in confluence with the art teaching in the practice of the supervised internship, being able to suggest and instigate collaborative and autonomous ways of teaching and learning in the formation of the artist/teacher/researcher in the Visual Arts. It approaches a theoretical reflection about the visual culture, as well as the derivations of the relational art and the creative process. Thus, this research was based on some reflexive aspects of the artography and the relational art, comprehending a group of artistic practices that take as initial point (theoretical and practical) the human relations and their social context.
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Livros sobre o assunto "Visual"

1

Sarah, Pink, ed. Visual interventions: Applied visual anthropology. New York: Berghahn Books, 2007.

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2

1944-, Chang S. K., ed. Visual languages and visual programming. New York: Plenum Press, 1990.

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3

Gmbh, Babadada. BABADADA, Uzbek - Français, visual dictionary - dictionnaire visuel: Uzbek - French, visual dictionary. Babadada, 2020.

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4

Gmbh, Babadada. BABADADA, Greek - Français, visual dictionary - dictionnaire visuel: Greek - French, visual dictionary. Babadada, 2019.

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5

Gmbh, Babadada. BABADADA, Tatar - Français, visual dictionary - dictionnaire visuel: Tatar - French, visual dictionary. Babadada, 2020.

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6

Visual Workplace Visual Thinking. Productivity Press, 2017. http://dx.doi.org/10.1201/b22109.

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Rohr-Rouendaal, Petra. Where There Is No Artist: Development Drawings and How to Use Them. Practical Action Publishing, 2007.

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Rohr-Rouendaal, Petra. Where There Is No Artist: Development Drawings and How to Use Them. Practical Action, 2007.

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9

Gmbh, Babadada. BABADADA, Thai - français canadien, visual dictionary - dictionnaire visuel: Thai - Canadian French, visual dictionary. Babadada, 2021.

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10

Gmbh, Babadada. BABADADA, français canadien - Greek , dictionnaire visuel - visual dictionary: Canadian French - Greek , visual dictionary. Babadada, 2021.

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Mais fontes

Capítulos de livros sobre o assunto "Visual"

1

Klein, Sheri R., e Faith Agostinone-Wilson. "Visual Research, Visual Data". In Action Research Methods, 81–103. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137046635_5.

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Weik, Martin H. "visual". In Computer Science and Communications Dictionary, 1899. Boston, MA: Springer US, 2000. http://dx.doi.org/10.1007/1-4020-0613-6_20870.

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Fagnart, Claire. "Visual". In Arts, Ecologies, Transitions, 192–94. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003455523-49.

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Gooch, Jan W. "Visual". In Encyclopedic Dictionary of Polymers, 800. New York, NY: Springer New York, 2011. http://dx.doi.org/10.1007/978-1-4419-6247-8_12624.

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Chaumette, François, e Seth Hutchinson. "Visual Servoing and Visual Tracking". In Springer Handbook of Robotics, 563–83. Berlin, Heidelberg: Springer Berlin Heidelberg, 2008. http://dx.doi.org/10.1007/978-3-540-30301-5_25.

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Aylward, Glen P. "Visual—Motor/Visual—Perceptual Function". In Practitioner’s Guide to Developmental and Psychological Testing, 189–201. Boston, MA: Springer US, 1994. http://dx.doi.org/10.1007/978-1-4899-1205-3_11.

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Chang, Angela Y. "Visual Function Tests: Visual Fields". In Methods in Molecular Biology, 123–31. New York, NY: Springer US, 2022. http://dx.doi.org/10.1007/978-1-0716-2651-1_11.

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Reynolds, Rachel R., e Greg Niedt. "Visual History, Visual Culture, Ideology". In Essentials of Visual Interpretation, 49–72. New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003045274-3.

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Johnson, Chris A. "Visual Fields: Visual Field Test Strategies". In Pearls of Glaucoma Management, 123–28. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-540-68240-0_15.

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Tarulli, Andrew. "Visual Loss and Other Visual Disturbances". In Neurology, 79–92. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-55598-6_5.

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Trabalhos de conferências sobre o assunto "Visual"

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Guo, Dan, Hui Wang e Meng Wang. "Dual Visual Attention Network for Visual Dialog". In Twenty-Eighth International Joint Conference on Artificial Intelligence {IJCAI-19}. California: International Joint Conferences on Artificial Intelligence Organization, 2019. http://dx.doi.org/10.24963/ijcai.2019/693.

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Visual dialog is a challenging task, which involves multi-round semantic transformations between vision and language. This paper aims to address cross-modal semantic correlation for visual dialog. Motivated by that Vg (global vision), Vl (local vision), Q (question) and H (history) have inseparable relevances, the paper proposes a novel Dual Visual Attention Network (DVAN) to realize (Vg, Vl, Q, H)--> A. DVAN is a three-stage query-adaptive attention model. In order to acquire accurate A (answer), it first explores the textual attention, which imposes the question on history to pick out related context H'. Then, based on Q and H', it implements respective visual attentions to discover related global image visual hints Vg' and local object-based visual hints Vl'. Next, a dual crossing visual attention is proposed. Vg' and Vl' are mutually embedded to learn the complementary of visual semantics. Finally, the attended textual and visual features are combined to infer the answer. Experimental results on the VisDial v0.9 and v1.0 datasets validate the effectiveness of the proposed approach.
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2

Gross, M. D. "Visual languages and visual thinking". In the 6th Eurographics Symposium. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1572741.1572743.

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Zhong, Ma, e Zhao Xinbo. "Visual attention based visual vocabulary". In 2014 IEEE International Conference on Orange Technologies (ICOT). IEEE, 2014. http://dx.doi.org/10.1109/icot.2014.6954669.

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Adelson, Edward H. "Visual mechanisms and visual illusions". In OSA Annual Meeting. Washington, D.C.: Optica Publishing Group, 1987. http://dx.doi.org/10.1364/oam.1987.wb1.

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Many perceptual phenomena and visual illusions can be understood-in terms of mechanisms that extract different kinds of energy. Photoreceptors are tuned for spectral energy, and cells in cortex can be considered to be tuned for local pattern energy corresponding to texture, scale, orientation, motion, and so on. Even though the tuning tends to be broad, exquisite sensitivity can be achieved by comparing the outputs of such cells. Thus we can discriminate colors that differ by a single nanometer or lines that are offset by a fraction of a cone width. Comparison mechanisms also lead to a wide range of remarkable illusions and aftereffects in the domains of color, brightness, motion, and form.
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Angelini, Marco, e Giuseppe Santucci. "On Visual Stability and Visual Consistency for Progressive Visual Analytics". In International Conference on Information Visualization Theory and Applications. SCITEPRESS - Science and Technology Publications, 2017. http://dx.doi.org/10.5220/0006269703350341.

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Mohith, S. Shiv, S. Vijay, Sanjana V e Niranjana Krupa. "Visual World to an Audible Experience: Visual Assistance for the Blind And Visually Impaired". In 2020 IEEE 17th India Council International Conference (INDICON). IEEE, 2020. http://dx.doi.org/10.1109/indicon49873.2020.9342481.

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Driessen, Johannes N. "Motion field estimation for complex scenes". In Visual Communications and Image Processing '91: Visual Communication. SPIE, 1991. http://dx.doi.org/10.1117/12.50237.

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Niu, Yulei, Hanwang Zhang, Manli Zhang, Jianhong Zhang, Zhiwu Lu e Ji-Rong Wen. "Recursive Visual Attention in Visual Dialog". In 2019 IEEE/CVF Conference on Computer Vision and Pattern Recognition (CVPR). IEEE, 2019. http://dx.doi.org/10.1109/cvpr.2019.00684.

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Shahrokni, A., C. Mei, P. Torr e I. Reid. "From Visual Query to Visual Portrayal". In British Machine Vision Conference 2008. British Machine Vision Association, 2008. http://dx.doi.org/10.5244/c.22.117.

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Rasouli, Amir, e John K. Tsotsos. "Visual Saliency Improves Autonomous Visual Search". In 2014 Canadian Conference on Computer and Robot Vision (CRV). IEEE, 2014. http://dx.doi.org/10.1109/crv.2014.23.

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Relatórios de organizações sobre o assunto "Visual"

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Hasty, Ashley. Visual Reflections for Visual Merchandising. Ames: Iowa State University, Digital Repository, novembro de 2015. http://dx.doi.org/10.31274/itaa_proceedings-180814-1161.

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Sperling, George. Visual Motion Perception and Visual Information Processing. Fort Belvoir, VA: Defense Technical Information Center, dezembro de 1993. http://dx.doi.org/10.21236/ada278530.

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Sperling, George. Visual Motion Perception and Visual Information Processing. Fort Belvoir, VA: Defense Technical Information Center, novembro de 1997. http://dx.doi.org/10.21236/ada381575.

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Sperling, George. Visual Motion Perception and Visual Attentive Processes. Fort Belvoir, VA: Defense Technical Information Center, junho de 1986. http://dx.doi.org/10.21236/ada172254.

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Shapley, Robert. Visual Temporal Filtering and Intermittent Visual Displays. Fort Belvoir, VA: Defense Technical Information Center, agosto de 1986. http://dx.doi.org/10.21236/ada174773.

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CAMPBELL, PHILIP L., e JUAN ESPINOZA. Visual Structure Language. Office of Scientific and Technical Information (OSTI), novembro de 2001. http://dx.doi.org/10.2172/789522.

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Sperling, George. Visual Motion Perception. Fort Belvoir, VA: Defense Technical Information Center, janeiro de 1989. http://dx.doi.org/10.21236/ada210994.

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Nakayama, Ken. Visual Evoked Potentials. Fort Belvoir, VA: Defense Technical Information Center, novembro de 1987. http://dx.doi.org/10.21236/ada187942.

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Turano, Kathleen A. Visual Motion Perception. Fort Belvoir, VA: Defense Technical Information Center, março de 2000. http://dx.doi.org/10.21236/ada375117.

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Zhang, Hong, e Noah J. Cowan. Extended Visual Servoing. Fort Belvoir, VA: Defense Technical Information Center, abril de 2003. http://dx.doi.org/10.21236/ada603493.

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