Sistema de detecção de fogo e detecção e seguimento de objectos

Dissertação para obtenção do Grau de Mestre em Engenharia Electrotécnica e de Computadores

Video interaction using pen-based technology

Dissertação para obtenção do Grau de Doutor em Informática

Characterization and identification of printed objects

A study about the physical appearance of pre-photographic, photomechanical, photographic and digital positive reflective prints was made, relating the obtained images with the history, materials and technology used to create them. The studied samples are from the Image Permanence Institute (IPI) study collection. The digital images were obtained using a digital SLR on a copystand and a compound light microscope, with different lighting angles (0º, 45ºand 90º) and magnifications from overall views on the copystand down to a 20x objective lens on the microscope. Most of these images were originally created by IPI for www.digitalsamplebook.org, a web tool for teaching print identification, and will be used on the www.graphicsatlas.org website, along with textual information on identification, technology and history information about these reproduction processes.

People and object tracking for video annotation

Dissertação para obtenção do Grau de Mestre em Engenharia Informática

Characterization and surface reconstruction of objects in tomographic images of composite materials

Dissertação para obtenção do Grau de Mestre em Engenharia Informática

Amorphous silicon e 3D sensors applied to object detection

Nowadays, existing 3D scanning cameras and microscopes in the market use digital or discrete sensors, such as CCDs or CMOS for object detection applications. However, these combined systems are not fast enough for some application scenarios since they require large data processing resources and can be cumbersome. Thereby, there is a clear interest in exploring the possibilities and performances of analogue sensors such as arrays of position sensitive detectors with the final goal of integrating them in 3D scanning cameras or microscopes for object detection purposes. The work performed in this thesis deals with the implementation of prototype systems in order to explore the application of object detection using amorphous silicon position sensors of 32 and 128 lines which were produced in the clean room at CENIMAT-CEMOP. During the first phase of this work, the fabrication and the study of the static and dynamic specifications of the sensors as well as their conditioning in relation to the existing scientific and technological knowledge became a starting point. Subsequently, relevant data acquisition and suitable signal processing electronics were assembled. Various prototypes were developed for the 32 and 128 array PSD sensors. Appropriate optical solutions were integrated to work together with the constructed prototypes, allowing the required experiments to be carried out and allowing the achievement of the results presented in this thesis. All control, data acquisition and 3D rendering platform software was implemented for the existing systems. All these components were combined together to form several integrated systems for the 32 and 128 line PSD 3D sensors. The performance of the 32 PSD array sensor and system was evaluated for machine vision applications such as for example 3D object rendering as well as for microscopy applications such as for example micro object movement detection. Trials were also performed involving the 128 array PSD sensor systems. Sensor channel non-linearities of approximately 4 to 7% were obtained. Overall results obtained show the possibility of using a linear array of 32/128 1D line sensors based on the amorphous silicon technology to render 3D profiles of objects. The system and setup presented allows 3D rendering at high speeds and at high frame rates. The minimum detail or gap that can be detected by the sensor system is approximately 350 μm when using this current setup. It is also possible to render an object in 3D within a scanning angle range of 15º to 85º and identify its real height as a function of the scanning angle and the image displacement distance on the sensor. Simple and not so simple objects, such as a rubber and a plastic fork, can be rendered in 3D properly and accurately also at high resolution, using this sensor and system platform. The nip structure sensor system can detect primary and even derived colors of objects by a proper adjustment of the integration time of the system and by combining white, red, green and blue (RGB) light sources. A mean colorimetric error of 25.7 was obtained. It is also possible to detect the movement of micrometer objects using the 32 PSD sensor system. This kind of setup offers the possibility to detect if a micro object is moving, what are its dimensions and what is its position in two dimensions, even at high speeds. Results show a non-linearity of about 3% and a spatial resolution of < 2µm.

Benefits & drawbacks of different means of interaction for placing objects above a video footage

Public Display Systems (PDS) increasingly have a greater presence in our cities. These systems provide information and advertising specifically tailored to audiences in spaces such as airports, train stations, and shopping centers. A large number of public displays are also being deployed for entertainment reasons. Sometimes designing and prototyping PDS come to be a laborious, complex and a costly task. This dissertation focuses on the design and evaluation of PDS at early development phases with the aim of facilitating low-effort, rapid design and the evaluation of interactive PDS. This study focuses on the IPED Toolkit. This tool proposes the design, prototype, and evaluation of public display systems, replicating real-world scenes in the lab. This research aims at identifying benefits and drawbacks on the use of different means to place overlays/virtual displays above a panoramic video footage, recorded at real-world locations. The means of interaction studied in this work are on the one hand the keyboard and mouse, and on the other hand the tablet with two different techniques of use. To carry out this study, an android application has been developed whose function is to allow users to interact with the IPED Toolkit using the tablet. Additionally, the toolkit has been modified and adapted to tablets by using different web technologies. Finally the users study makes a comparison about the different means of interaction.

Popular music exhibitions in Portugal: practices of representation from 2007 to 2013

This thesis focuses on the representation of Popular Music in museums by mapping, analyzing, and characterizing its practices in Portugal at the beginning of the 21st century. Now that museums' ability to shape public discourse is acknowledged, the examination of popular music's discourses in museums is of the utmost importance for Ethnomusicology and Popular Music Studies as well as for Museum Studies. The concept of 'heritage' is at the heart of this processes. The study was designed with the aim of moving the exhibiting of popular music in museums forward through a qualitative inquiry of case studies. Data collection involved surveying pop-rock music exhibitions as a qualitative sampling of popular music exhibitions in Portugal from 2007 to 2013. Two of these exhibitions were selected as case studies: No Tempo do Gira-Discos: Um Percurso pela Produção Fonográfica Portuguesa at the Museu da Música in Lisbon in 2007 (also Faculdade de Letras, 2009), and A Magia do Vinil, a Música que Mudou a Sociedade at the Oficina da Cultura in Almada in 2008 (and several other venues, from 2009 to 2013). Two specific domains were observed: popular music exhibitions as instances of museum practice and museum professionals. The first domain encompasses analyzing the types of objects selected for exhibition; the interactive museum practices fostered by the exhibitions; the concepts and narratives used to address popular music discursively, as well as the interpretative practices they allow. The second domain, focuses museum professionals and curators of popular music exhibitions as members of a group, namely their goals, motivations and perspectives. The theoretical frameworks adopted were drawn from the fields of ethnomusicology, popular music studies, and museum studies. The written materials of the exhibitions were subjected of methods of discourse analysis methods. Semi-structured interviews with curators and museum professional were also conducted and analysed. From the museum studies perspective, the study research suggests that the practice adopted by popular music museums largely matches that of conventional museums. From the ethnomusicological and popular music studies stand point, the two case studies reveal two distinct conceptual worlds: the first exhibition, curated by an academic and an independent researcher, points to a mental configuration where popular music is explained through a framework of genres supported by different musical practices. Moreover, it is industry actors such as decision makers and gatekeepers that govern popular music, which implies that the visitors' romantic conception of the musician is to some extent dismantled; the second exhibition, curated by a record collector and specialist, is based on a more conventional process of the everyday historical speech that encodes a mismatch between “good” and “bad music”. Data generated by a survey shows that only one curator, in fact that of my first case study, has an academic background. The backgrounds of all the others are in some way similar to the curator of the second case study. Therefore, I conclude that the second case study best conveys the current practice of exhibiting Popular Music in Portugal.

Uncertain Spaces: Virtual Configurations in Contemporary Art and Museums

Contém artigos apresentados na International Conference “Uncertain Spaces: Virtual Configurations in Contemporary Art and Museums”, na Fundação Calouste Gulbenkian (Lisboa), 31 Outubro - 1 de Novembro de 2014) de: Helena Barranha e Susana S. Martins - Introduction: Art, Museums and Uncertainty (pp.1-12); Alexandra Bounia e Eleni Myrivili - Beyond the ‘Virtual’: Intangible Museographies and Collaborative Museum Experiences (pp.15-32); Annet Dekker - Curating in Progress. Moving Between Objects and Processes (pp.33-54); Giselle Beiguelman - Corrupted Memories. The aesthetics of Digital Ruins and the Museum of the Unfinished (pp.55-82); Andrew Vaas Brooks - The Planetary Datalinks (pp.85-110); Sören Meschede - Curators’ Network: Creating a Promotional Database for Contemporary Visual Arts (pp.11-130); Stefanie Kogler - Divergent Histories and Digital Archives of Latin American and Latino Art in the United States – Old Problems in New Digital Formats (pp.131-156); Luise Reitstätter e Florian Bettel - Right to the City! Right to the Museum!(pp.159-182); Roberto Terracciano - On Geo-poetic systems: virtual interventions inside and outside the museum space (pp.183-210); e, Catarina Carneiro de Sousa e Luís Eustáquio - Art Practice in Collaborative Virtual Environments (pp.211-240).

Optimal design and operation of compact simulated moving bed processes for enantioseparations

Simulated moving bed (SMB) chromatography is attracting more and more attention since it is a powerful technique for complex separation tasks. Nowadays, more than 60% of preparative SMB units are installed in the pharmaceutical and in the food in- dustry [SDI, Preparative and Process Liquid Chromatography: The Future of Process Separations, International Strategic Directions, Los Angeles, USA, 2002. http://www. strategicdirections.com]. Chromatography is the method of choice in these ¯elds, be- cause often pharmaceuticals and ¯ne-chemicals have physico-chemical properties which di®er little from those of the by-products, and they may be thermally instable. In these cases, standard separation techniques as distillation and extraction are not applicable. The noteworthiness of preparative chromatography, particulary SMB process, as a sep- aration and puri¯cation process in the above mentioned industries has been increasing, due to its °exibility, energy e±ciency and higher product purity performance. Consequently, a new SMB paradigm is requested by the large number of potential small- scale applications of the SMB technology, which exploits the °exibility and versatility of the technology. In this new SMB paradigm, a number of possibilities for improving SMB performance through variation of parameters during a switching interval, are pushing the trend toward the use of units with smaller number of columns because less stationary phase is used and the setup is more economical. This is especially important for the phar- maceutical industry, where SMBs are seen as multipurpose units that can be applied to di®erent separations in all stages of the drug-development cycle. In order to reduce the experimental e®ort and accordingly the coast associated with the development of separation processes, simulation models are intensively used. One impor- tant aspect in this context refers to the determination of the adsorption isotherms in SMB chromatography, where separations are usually carried out under strongly nonlinear conditions in order to achieve higher productivities. The accurate determination of the competitive adsorption equilibrium of the enantiomeric species is thus of fundamental importance to allow computer-assisted optimization or process scale-up. Two major SMB operating problems are apparent at production scale: the assessment of product quality and the maintenance of long-term stable and controlled operation. Constraints regarding product purity, dictated by pharmaceutical and food regulatory organizations, have drastically increased the demand for product quality control. The strict imposed regulations are increasing the need for developing optically pure drugs.(...)

The role of objects in creative collaborations

Objects matter when professionals collaborate to create new products. Chapter 1 explains the intention of this work, to apply theories on objects in the empirical context of fashion design. Chapter 2 addresses the question of how creative professionals learn about and use strategy tools to turn their artistic fame into a commercial success. For Chapter 3 I collected ethnographic data on the development of a seasonal collection from the idea to the presentation at Fashion Week. The result is a deep insight into the collaborative processes and material objects used when a stable team of designers works with several outside experts. Chapter 4 applies the knowledge of the role of objects in fashion design gained during the ethnography in the context of online co-creation and crowd sourced fashion items. The synthesis of the empirical studies allows me to present the conceptual leap in Chapter 5. In the theoretical essay I review the findings on the role of objects in collaborations in relation to practice theory, present the new concept of the comprehensive object and conclude by stating the possibilities for future research.

Objects that move: Japanese Namban screens in the realm of the senses

This paper identifies and critiques the value of stillness as a necessary condition for the display and appreciation of art objects like the 16th century Japanese Namban screens, whose history and function is characterised by forms of movement. Drawing on multi-sited fieldwork in museum galleries that display these screens in Japan, Portugal and North America I will detail how the art-historical interpretation of the physical passage of these objects and their value as cultural heritage is based upon the fixed point perspectivism of networks and a visualist paradigm. Museum focused processes of conservation and display can be understood as extending this paradigm. By means of environmental controls, directed towards the location of perceptible meaning in what is available to vision and the necessary attenuation of the other senses the material movements of the object and movements of constituent materials in the object are stilled. The argument is for a sensory approach to museums and the objects within them, which in this case takes account of the material movements of the screens by engaging the senses through the ‘touch of sound’ as well as vision.