44 resultados para Transforms


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The distortion operator transforms 2D images in a manner similar to image warping or morphing, allowing source pixels to be mapped to any destination pixel. This operator can be implemented on current hardware, allowing at least one distortion per frame at interactive frame rates. Potential applications are numerous, but those described include re-mapping images for correct projection onto curved screens, correcting camera distortion from multiple sources simultaneously, and allowing constant time dynamic texturing and lighting of a static scene which is independent of geometric complexity.

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The ordered weighted averaging (OWA) determination method with stress function was proposed by Yager, and it makes the OWA operator elements scatter in the shape of the stress function. In this paper, we extend the OWA determination with the stress function method using an optimization model. The proposed method transforms the OWA optimal solution elements into the interpolation points of the stress function. The proposed method extends the basic form of the stress function method with both scale and vertical shift transformations.We also explore a number of properties of this optimization-based stress function method. The OWA operator optimal solution elements can distribute as the shape of the given stress function in a parameterized way, in which case, the solution always possesses the arithmetic average operator as a special case.

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Two new species of gall midge associated with two leaf galls on the branched, perennial shrub Tecticornia arbuscula are described from saltmarshes in south-eastern Australia. The infestations caused by the new species hinder the growth of T. arbuscula which can impact on the critically endangered Orange Bellied Parrot (Neophema chrysogaster): T. arbuscula provides perching and roosting sites and the seeds are the major food source for this bird. Asphondylia tecticorniae sp. n. Veenstra & Kolesik transforms leaf segments into single-chambered, spherical galls, whereas Asphondylia peelei sp. n. Veenstra & Kolesik produces a multi-chambered, asymmetrical gall on leaves of the same plant. Both galls have fungal mycelium lining the inner surface of the larval chamber where it is presumably grazed on by the larva. Descriptions of the larvae, pupae, males, females and geographical distribution of the two gall midges in south-eastern Australia are given. Differences in the level of parasitoid infestation of four Asphondylia species feeding on Australian Chenopodiaceae in relation to putative oviposition sites on the host plants are explored.

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We examine the construction of new filters for computing local energy, and compare these filters with the Gabor filters and the three-point-filter of Venkatesh [l]. Further, we demonstrate that the effect of convolution with complex Gabor filters is to band-pass (with some differentiating effect) and compute the local energy of the result. The magnitude of the resulting local energy is then used to detect features [2], [3] (step features, texture etc.), and the phase is used to classify the detected features [l], [4] or provide disparity information for stereo [5] and motion work [6], [7]. Each of these types of information can be obtained at multiple resolutions, enabling the use of course to fine strategies for computing disparity, and allowing the discrimination of image textures on the basis of which parts of the Fourier domain they dominate [8], [9].

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Structural phase transitions in hydrous Cs-exchanged natrolite (Cs-NAT-hyd) and anhydrous Cs-exchanged natrolite (Cs-NAT-anh) have been investigated as a function of pressure and temperature using micro-Raman scattering and synchrotron infrared (IR) spectroscopy with pure water as the penetrating pressure medium. The spectroscopic results indicate that Cs-NAT-hyd undergoes a reversible phase transition around 4.72 GPa accompanied by the discontinuous frequency shifts of the breathing vibrational modes of the four-ring and helical eight-ring units of the natrolite framework. On the other hand, we observe that Cs-NAT-anh becomes rehydrated at 0.76 GPa after heating to 100 °C and then transforms into two distinctive phases at 2.24 and 3.41 GPa after temperature treatments at 165 and 180 °C, respectively. Both of these high-pressure phases are characterized by the absence of the helical eight-ring breathing modes, which suggests the collapse of the natrolite channel and formation of dense high-pressure polymorphs. Together with the fact that these high-pressure phases are recoverable to ambient conditions, our results imply a novel means for radionuclide storage utilizing pressure and a porous material.

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Both the instance level knowledge and the attribute level knowledge can improve clustering quality, but how to effectively utilize both of them is an essential problem to solve. This paper proposes a wrapper framework for semi-supervised clustering, which aims to gracely integrate both kinds of priori knowledge in the clustering process, the instance level knowledge in the form of pairwise constraints and the attribute level knowledge in the form of attribute order preferences. The wrapped algorithm is then designed as a semi-supervised clustering process which transforms this clustering problem into an optimization problem. The experimental results demonstrate the effectiveness and potential of proposed method.

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In this paper I argue for a shift in conceptualising exhibitions: from products to be presented to processes to be revealed. I will explore how museum theory and practice are inextricably intertwined and can be brought into fruitful dialogue within an exhibition setting. By revealing the processes leading to the definition of categories and the interpretation of identities, and by giving ‘faces’ to decisions made, the ‘reflexive museum’ can become an embodiment of democracy, which does not silence controversies but gives diversity public voices. The ‘reflexive museum’ as I envisage it, by referring to Beck and Bonss’ ‘reflexive modernity’ (2001) is not only self-aware, but confronts, critiques, questions and ultimately transforms itself and invites the visitor to democratically participate in this process.

First, I sketch out recent academic musings on museological approaches. Then I present some examples of exhibitions in Germany in which these theories have been put into practice. I conclude by arguing for a symbiotic relationship between museum theory and practice, enabling the museum to realise its unique potential as a dynamic ‘playground’ located between scholarly thinking and the public.

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Structural behaviour of cyclo-octane under high pressure is studied by using a synchrotron x-ray source in a diamond anvil cell (DAC) up to 40.2 GPa at room temperature. The cyclo-octane firstly solidifies to the triclinic phase at 0.87GPa. With the increasing pressure, the phase of cyclo-octane changes to the tetragonal phase at about 6.0 GPa and then transforms to amorphous phase above 18.2 GPa, which is kept till to 40.2 GPa. All the phase transitions of cyclo-octane are irreversible.

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Parallax is a live contemporary dance work that incorporates 3D animation, stereoscopic illusions and dance. This work was performed within the Melbourne Fringe Festival at the Substation, Newport. Within this work the stereoscopic illusion creates a new choreographic palette that can be used to manipulate human physicality via animated bodies that appear within the performance space. The stereoscopic image is released from the wall and placed within the dancing environment the image becomes another body within the dance space that can be manipulated in ways that would be impossible for a real physical body. In turn, the dancing body is positioned within the digital environment. The performer’s abilities have not changed, but the space around the dancer can be manipulated with imagery that transforms the place of the dancer within time and space. The stereoscopic illusion and live dance are melded creating a new experience of choreography one that takes the infinite possibilities of 3D animation and places them directly within choreography. Thematically this performance draws on the historical events revolving around the development of the stereoscope in the 1830s and the seminal ideas of the virtual that surfaced at this time. In the early 1830s Charles Wheatstone drew on the ideas and writings of Euclid and Leonardo da Vinci and discovered binocular vision through the use of his stereoscope box. It was this box that became the entertainment sensation of this time becoming a standard parlour entertainment. Unlike now where imagery of people are everywhere in the 1830s these types of imagery were novel. The stereoscopic pictures often showed content of people doing ordinary tasks such as chopping wood, doing the washing or simply standing in front of their house. In Parallax a Victorian woman is transported from her hallway to virtual worlds where she encounters, Euclid’s ancient Greek column, a di Vinci sphere and one of the first stereoscopic images drawn by Charles Wheatstone’s a stick figure cube.

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Train stations are places of connection in our cities and are the gateways of urban space. They represent one of the most exciting places to experience. Some stations make great destinations offering shops, restaurants, museums and exhibition spaces to commuters. While new architecture at railway stations acknowledges heritage, the urban spaces around them provide excellent public areas and rationalise functional needs. Grand spaces with monumental structures, including constant movement of people and trains makes for an exhilarating experience. Modern or historic, great train stations add another level of excitement in the regeneration of our cities. Adding into the mix of the sustainability paradigm, place making of railway stations transforms into sustainable urban centres and signature architecture, but how does it support an environmentally sustainable future? This paper reflects the journey of exploring the challenging situations of balancing the requirements between historic, operational, functional, economic and innovative sustainable design solutions during the Flinders Street Station Design Competition in Melbourne. The author highlights how the unique spatial, social and cultural circumstance of this world-renowned city railway station possesses specific resilient and sustainable design answers to a public realm and city space that challenges established thinking.

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This article addresses perhaps the key question for Television Studies: Who does television think you are? It argues that Reality Television answers this question by producing its viewers as, in the Classical Greek sense, idiots (meaning private and ignorant persons). Idiots are the perfect target for the advertising dollar that supports commercial television production. As Reg Grundy observes, Reality Television is anything but reality. With its tight framings of reality, it paradoxically operates to sever the viewing self from reality—from the “truth” of life. Lie to Me is the type of television we are left with after the demise of Reality Television. Lie to Me makes us self-conscious, in the strongest sense, and thus sustains the mission of Reality Television. By dragging the notion of reality into its self-serving fictions, it puts the viewer into the dangerous position of being unable to lie to television. If Reality Television constrained reality to falsity, Lie to Me implicates the viewer in the zone where falsity transforms into reality. Lastly, this article enquires into the possibilities, in today’s television ecology, for a mode of TV citizenship that would counter the abject viewing position of the consumerist idiot.

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This paper presents a patchwork-based watermarking method for stereo audio signals, which exploits the similarity of the two sound channels of stereo signals. Given a segment of stereo signal, we first compute the discrete Fourier transforms (DFTs) of the two sound channels, which yields two sets of DFT coefficients. The DFT coefficients corresponding to certain frequency range are divided into multiple subsegment pairs and a criterion is proposed to select those suitable for watermark embedding. Then a watermark is embedded into the selected subsegment pairs by modifying their DFT coefficients. The exact way of modification is determined by a secret key, the watermark to be embedded, and the DFT coefficients themselves. In the decoding process, the subsegment pairs containing watermarks are identified by another criterion. Then the secret key is used to extract the watermark from the watermarked subsegments. Compared to the existing patchwork methods for audio watermarking, the proposed method does not require knowledge of which segments of the watermarked audio signal contain watermarks and is more robust to conventional attacks.

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Herrera and Mart́inez initiated a 2-tuple fuzzy linguistic representation model for computing with words.Moreover, Wang and Hao further developed a new 2-tuple fuzzy linguistic representation model to deal with the linguistic term sets that are not uniformly and symmetrically distributed. This study proposes another linguistic computational model based on 2-tuples and intervals, which we call an interval version of the 2-tuple fuzzy linguistic representation model. The proposed model possesses three steps: 1) interval numerical scale; 2) computation based on interval numbers; and 3) a generalized inverse operation of the interval numerical scale. The first step transforms linguistic terms into interval numbers, based on which the second step is executed with output as an interval number. Finally, this number is then mapped into the interval of the linguistic 2-tuples by the generalized inverse operation. This study also generalizes the numerical scale approach, presented in the Wang and Hao model, to set the interval numerical scale, by considering the context where semantics of linguistic terms are defined by interval type-2 fuzzy sets (IT2 FSs). In order to compare the proposed model with the existing linguistic computational model based on IT2 FSs, we have conducted extensive simulations. The simulations demonstrate that the results obtained by our proposal are consistent with the results of the linguistic computational model based on IT2 FSs (in some sense) in a vast majority of cases.

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Increasingly national policy processes are intersected with and affected by global policy actors and ideas. In aid-recipient countries such as Ethiopia, donors use financial and non-financial means to influence national policy decisions and directions. This paper is about the non-financial influence of the World Bank (WB) in the Ethiopian higher education policy reform. Using Pierre Bourdieu’s concept of symbolic power as a ‘thinking tool’, the paper aims to shed light on forms of symbolic capital that the Bank uses to generate a ‘misrecognisable’ form of power that regulates the HE policy process in Ethiopia. The findings show that the WB transforms its symbolic capital of recognition and legitimacy to establish a ‘shared misrecognition’ and thereby make its policy prescriptions implicit and hence acceptable to local policy agents. The Bank uses knowledge-based regulatory instruments to induce compliance to its neoliberal policy prescriptions. The paper therefore underscores the value of symbol power as an analytical framework to understand elusive but critical role of donors in policy processes of aid recipient countries.

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A leaf captures light energy and transforms it through the process of photosynthesis. This glass leaf-like form also, in a sense, captures light and transforms it as it bends and refracts the rays, containing it in the deep dimensional reservoirs of the piece.