Automatic grain texture analysis using integral transforms

Tonewood for musical instruments is quarter-sawn and frequently quality-graded based on visual appearance, mechanical and acoustic properties. The assessment uses simple human (subjective) observation, and two ‘‘experts’’ can rate the same sample differently. This paper describes the application of integral transforms (Fourier and Radon) for automatic (objective) assessment of the visual appearance of 10 Sitka spruce (Picea sitchensis) sample images. This work considers surface classification on the basis of grain orientation, count, spacing, and evenness or uniformity.

Memory, image, matter: Trauma and acts of un-forgetting

How might we conceive of the role of memory as a non-representational mode of commemoration that reconstitutes and transforms lived experience? In this paper I will draw on aspects on Indigenous epistemology and apply conceptions of memory outlines in works of Edward Casey, Henri Bergson and others to consider how social and psychological effects of trauma are manifested through generations. An understanding of the relationship between images, memory and matter and of memory as a primarily eidetic and material process may also help to suggest how some people may be able to avoid or overcome trauma. As image production, art-making generates images that like memory, perform acts of "unforgetting" through which the past is returned as a presence that is materially apprehended. This process can both sustain and transform individual and collective histories. Central to this idea is the notion that, the structure of mind and of memory are co-extensive with the external world an that the articulation of consciousness is crucially dependent on space and place.