Optimized methods to digital survey and 3D modelling of cultural heritage assets

Currently making digital 3D models and replicas of the cultural heritage assets play an important role in the preservation and having a high detail source for future research and intervention. In this dissertation, it is tried to assess different methods for digital surveying and making 3D replicas of cultural heritage assets in different scales of size. The methodologies vary in devices, software, workflow, and the amount of skill that is required. The three phases of the 3D modelling process are data acquisition, modelling, and model presentation. Each of these sections is divided into sub-sections and there are several approaches, methods, devices, and software that may be employed, furthermore, the selection process should be based on the operation's goal, available facilities, the scale and properties of the object or structure to be modeled, as well as the operators' expertise and experience. The most key point to remember is that the 3D modelling operation should be properly accurate, precise, and reliable; therefore, there are so many instructions and pieces of advice on how to perform 3D modelling effectively. It is an attempt to compare and evaluate the various ways of each phase in order to explain and demonstrate their differences, benefits, and drawbacks in order to serve as a simple guide for new and/or inexperienced users.

Compressed sensing in digital tomosynthesis reconstruction

In this work we study a model for the breast image reconstruction in Digital Tomosynthesis, that is a non-invasive and non-destructive method for the three-dimensional visualization of the inner structures of an object, in which the data acquisition includes measuring a limited number of low-dose two-dimensional projections of an object by moving a detector and an X-ray tube around the object within a limited angular range. The problem of reconstructing 3D images from the projections provided in the Digital Tomosynthesis is an ill-posed inverse problem, that leads to a minimization problem with an object function that contains a data fitting term and a regularization term. The contribution of this thesis is to use the techniques of the compressed sensing, in particular replacing the standard least squares problem of data fitting with the problem of minimizing the 1-norm of the residuals, and using as regularization term the Total Variation (TV). We tested two different algorithms: a new alternating minimization algorithm (ADM), and a version of the more standard scaled projected gradient algorithm (SGP) that involves the 1-norm. We perform some experiments and analyse the performance of the two methods comparing relative errors, iterations number, times and the qualities of the reconstructed images. In conclusion we noticed that the use of the 1-norm and the Total Variation are valid tools in the formulation of the minimization problem for the image reconstruction resulting from Digital Tomosynthesis and the new algorithm ADM has reached a relative error comparable to a version of the classic algorithm SGP and proved best in speed and in the early appearance of the structures representing the masses.

The power of language and the language of power in M. T. Anderson’s Feed and Gary Stheyngart’s Super Sad True Love Story. A comparative analysis

The aim of my dissertation is to analyze how selected elements of language are addressed in two contemporary dystopias, Feed by M. T. Anderson (2002) and Super Sad True Love Story by Gary Shteyngart (2010). I chose these two novels because language plays a key role in both of them: both are primarily focused on the pervasiveness of technology, and on how the use/abuse of technology affects language in all its forms. In particular, I examine four key aspects of language: books, literacy, diary writing, as well as oral language. In order to analyze how the aforementioned elements of language are dealt with in Feed and Super Sad True Love Story, I consider how the same aspects of language are presented in a sample of classical dystopias selected as benchmarks: We by Yevgeny Zamyatin (1921), Brave New World by Aldous Huxley (1932), Animal Farm (1945) and Nineteen Eighty-Four (1949) by George Orwell, Fahrenheit 451 by Ray Bradbury (1952), and The Handmaid's Tale by Margaret Atwood (1986). In this way, I look at how language, books, literacy, and diaries are dealt with in Anderson’s Feed and in Shteyngart’s Super Sad True Love Story, both in comparison with the classical dystopias as well as with one another. This allows for an analysis of the similarities, as well as the differences, between the two novels. The comparative analysis carried out also takes into account the fact that the two contemporary dystopias have different target audiences: one is for young adults (Feed), whereas the other is for adults (Super Sad True Love Story). Consequently, I also consider whether further differences related to target readers affect differences in how language is dealt with. Preliminary findings indicate that, despite their different target audiences, the linguistic elements considered are addressed in the two novels in similar ways.