The role of the harmonic vector average in motion integration

The local speeds of object contours vary systematically with the cosine of the angle between the normal component of the local velocity and the global object motion direction. An array of Gabor elements whose speed changes with local spatial orientation in accordance with this pattern can appear to move as a single surface. The apparent direction of motion of plaids and Gabor arrays has variously been proposed to result from feature tracking, vector addition and vector averaging in addition to the geometrically correct global velocity as indicated by the intersection of constraints (IOC) solution. Here a new combination rule, the harmonic vector average (HVA), is introduced, as well as a new algorithm for computing the IOC solution. The vector sum can be discounted as an integration strategy as it increases with the number of elements. The vector average over local vectors that vary in direction always provides an underestimate of the true global speed. The HVA, however, provides the correct global speed and direction for an unbiased sample of local velocities with respect to the global motion direction, as is the case for a simple closed contour. The HVA over biased samples provides an aggregate velocity estimate that can still be combined through an IOC computation to give an accurate estimate of the global velocity, which is not true of the vector average. Psychophysical results for type II Gabor arrays show perceived direction and speed falls close to the IOC direction for Gabor arrays having a wide range of orientations but the IOC prediction fails as the mean orientation shifts away from the global motion direction and the orientation range narrows. In this case perceived velocity generally defaults to the HVA.

Numbers in motion

We explore the debates surrounding the constructive and discursive capabilities of accounting information focusing in particular on the reception volatility of numbers once they are produced and ‘exposed’ to various communities of minds. Drawing on Goffman’s (1974) frame analysis and Vollmer’s (2007) work on the three-dimensional character of numerical signs, we explore how numbers can go through gradual or instantaneous transformations, get caught up in public debates and become ‘agents’ or ‘captives’ in creating social order and in some cases social drama. In our analysis we also relate to the work of Durkheim (1993, 2002) on the sociology of morality to illustrate how numbers can become indicators of moral transgression. The study explores both historical and contemporary examples of controversies and recent accounting scandals to demonstrate how preparers (of financial information) can lose control over numbers which then acquire new meanings through social context and collective (re)framing. The main contribution of the study is to illustrate how the narratives attached to numbers are malleable and fluid across both time and space.

You know how I know you're gay? : masculinity and homophobia in mainstream comedy

You Know How I Know You're Gay?: Masculinity and Homophobia in Contemporary Mainstream Comedy is a three-part senior scholars project that consists of a critical analysis of homophobic humor in contemporary mainstream comedy, an original feature-length comedy script entitled Don 't Be that Freshman, and a DVD of selected scenes from Don't Be that Freshman. The critical analysis first establishes the existence of homophobic humor in mainstream comedy and then links this homophobia to masculine anxiety, applying the ideas set forth in Michael Kimmel's essay, "Masculinity as Homophobia," to contemporary, mainstream, homosocial comedies. The paper goes on to examine audience reactions to this homophobic humor, focusing on audience members who enjoy these movies, yet consider themselves to be accepting of homosexuality and against homophobia. I discuss ways of resistance and the importance of opposing homophobic humor, and finally, I look at comedy as a potentially transgressive medium that could be used to fight homophobia and social inequality. The critical analysis, therefore, leads into Don't Be that Freshman, a film that uses progressive humor to oppose homophobia and expose the potential dangers and pitfalls of conforming to social constructions of gender. Don't Be that Freshman is a film about three pairs of college roommates in their first semester at college who become each other's first friends on campus. It is a character-driven comedy that attempts to normalize non-heterosexual sexual orientation and gender non-conformity, to advocate a type of living that does not conform to problematic social constructions and cultural ideologies, and at the same time to appeal to a mainstream audience. The film version is twenty-five minutes long and consists of ten scenes from the script.

Intra-articular pressure profiles of the cadaveric equine fetlock joint in motion

The study of the influence of motion and initial intra-articular pressure (IAP) on intra-articular pressure profiles in equine cadaver metatarsophalangeal (MTP) joints was undertaken as a prelude to in vivo studies, Eleven equine cadaver MTP joints were submitted to 2 motion frequencies of 5 and 10 cycles/min of flexion and extension, simulating the condition of lower and higher (double) rates of passive motion. These frequencies were applied and pressure profiles generated with initial normal intra-articular pressure (-5 mmHg) and subsequently 30 mmHg intra-articular pressure obtained by injection of previously harvested synovial fluid.The 4 trials performed were 1) normal IAP; 5 cyles/min; 2) normal IAP; 10 cycles/min; 3) IAP at 30 mmHg; 5 cycles/min and 4) IAP at 30 mmHg; 10 cycles/min. The range of joint motion applied (mean +/- s.e.) was 67.6 +/- 1.61 degrees with an excursion from 12.2 +/- 1.2 degrees in extension to 56.2 +/- 2.6 degrees in flexion, Mean pressure recorded in mmHg for the first and last min of each trial, respectively, were 1) -5.7 +/- 0.9 and -6.3 +/- 1.1; 2) -5.3 +/- 1.1 and -6.2 +/- 1.1; 3) 58.8 +/- 8.0 and 42.3 +/- 7.2; 4) 56.6 +/- 3.7 and 40.3 +/- 4.6. Statistical analyses showed a trend for difference between the values for the first and last minute in trial 3 (0.05>P<0.1) with P = 0.1 and significant difference (P = 0.02) between the mean IAP of the first and last min in trial 4. The loss of intra-articular pressure associated with time and motion was 10.5, 16.9, 28.1 and 28.9% for trials 1-4, respectively. As initial intraarticular pressure and motion increased, the percent loss of intra-articular pressure increased.The angle of lowest pressure was 12.2 +/- 1.2 (mean +/- s.e.) in extension in trials 1 and 2, In trials 3 and 4, the lowest pressures were obtained in flexion with the joints at 18.5 +/- 2.0 degrees (mean +/- s.e.). This demonstrated that the joint angle of least pressure changed as the initial intra-articular pressure changed and there would not be a single angle of least pressure for a given joint.The volume of synovial fluid recovered from the MTP joints in trial 3 compared to 4 (trials in which fluid was injected to attain IAP of 30 mmHg) was not significantly different, supporting a soft tissue compliance change as a cause for the significant loss of intra-articular pressure during the 15 min of trial 4.The pressure profiles generated correlate well with in vivo values and demonstrated consistent pressure profiles. Our conclusions are summarised as follows:1. Clinically normal equine MTP joints which were frozen and then later thawed were found to have mostly negative baseline intra-articular pressures, as would be expected in living subjects,2. Alternate pressure profiles of the dorsal and plantar pouch at baseline intra-articular pressure document the presence of pressure forces that would support 'back and forth' fluid movement between joint compartments. This should result in movement of joint fluid during motion, assisting in lubrication and nutrition of articular cartilage,3. If joint pressure was initially greater than normal (30 mmHg), as occurs in diseased equine MTP joints, joint motion further increased joint capsule relaxation (compliance) and, therefore, reduced intra-articular pressure.4. Peak intra-articular pressures reached extremely high values (often >100 mmHg) in flexion when initial pressure was 30 mmHg. Joint effusion pressures recorded for clinical MCP joints are frequently 30 mmHg. These IAP values are expected to produce intermittent synovial ischaemia in clinical cases during joint flexion.5, Additional in vivo studies are necessary to confirm our conclusions from this study and to identify the contributions of fluid absorption and the presence of ischaemia in a vascularised joint.

Gender und Genre in melodramatischen Literaturverfilmungen der Gegenwart - Far From Heaven, The Hours, A Single Man

Die Dissertation Gender und Genre in melodramatischen Literaturverfilmungen der Gegenwart untersucht das Medium Film anhand von Todd Haynes’ Far from Heaven (2002), Stephen Daldrys The Hours (2002) und Tom Fords A Single Man (2009) als Quelle des Wissens über gesellschaftlich-normierte Geschlechterrollen und sozialkonstruierte Genderkonzepte. Die Arbeit versteht sich als eine nachhaltige Schnittstellenforschung zwischen Gender-, Literatur-, Film- und Medienwissenschaften und zeigt die Öffnung der Germanistik für den medial geprägten Kulturwandel, welcher den deutschen bzw. den deutschsprachigen Kulturraum betrifft. Gender und Geschlecht destabilisieren die Gesellschaft und die „heterosexuelle Matrix“ durch das individuelle Suchen, Finden, Konstruieren und Anerkennen einer eigenen, individuellen Genderidentität. Dieser Prozess kann unter Zuhilfenahme des Erzählens von Geschlecht im Film verdeutlicht werden, denn die audiovisuelle Fiktion modelliert Wirklichkeitsvorstellungen und das Wirklichkeitsverständnis der Rezipienten. Wobei offen bleibt, ob die Fiktion die Realität oder die Realität die Fiktion imitiert. Denn es gibt nicht nur eine Wahrheit, sondern mehrere, vielleicht unzählige Bedeutungszuschreibungen. Die drei paradigmatischen Literaturverfilmungen wurden jeweils in Bezug zu ihren Literaturvorlagen von Virginia Woolf, Michael Cunningham und Christopher Isherwood gesetzt. Sie können als Beispiele für ein wissendes, postmodernes Pastiche des Themen-Clusters Diskriminierung/Homophobie/Homosexualität/„Rasse“ gelten. Alle drei Filme verhandeln durch gemeinsame, melodramatische Motive (Spiegel, Telefon, Krieg, Familie) die Darstellbarkeit von Emotionen, Begehren, Sehnsüchten, Einsamkeit und dem Verlust der Liebe. Durch Verbindungslinien zu den Melodramen von Douglas Sirk und mittels den Theorien von u.a. Judith Butler, Stanley Cavell, Carolin Emcke, Thomas Elsaesser, Sigmund Freud, Hermann Kappelhoff und Laura Mulvey wurde das Begriffspaar Genre und Gender her-ausgestellt und im zeitgenössischen Geschlechter-Diskurs verortet. Das im Verlauf der Arbeit erarbeitete Wissen zu Gender, Sexualität, Körper und Geschlecht wurde als ein Gender-Genre-Hybrid verstanden und im Genre des queeren bzw. homosexuellen Melodrams (gay melodrama) neu verortet. Die drei Filme sind als ein Wiederbelebungsversuch bzw. ein Erweiterungsversuch des melodramatischen Genres unter dem Genderaspekt anzusehen. Die Analyse und Dekonstruktion feststehender Begriffe im Kontext der Gender- und Gay Studies und dem Queer Cinema lösen produktive Krisen und damit emanzipierte Verfahren aus. Diese müssen immer wieder neu beschrieben werden, damit sie wahrgenommen und verstanden werden. Daher sind die drei melodramatischen Literaturverfilmungen ein fiktionales Dokumentationsmodell gesellschaftlicher Konflikte, welches anhand individueller Schicksale verdeutlicht wird.

COLONIALES ET RESISTANCE ANTINAZIE AU CAMEROUN, 1939 - 1945

Dans l’histoire des civilisations, le contexte de guerre a très généralement placé les femmes en marge des actions de guerre. Au propre comme au figuré, elles y apparaissent le plus souvent protégées, écartées des fronts, qui semblent conséquemment être la seule affaire des hommes du fait de l’usage généralisé de la violence. C’est logiquement l’idée répandue qu’on s’en fait des occidentales établies en colonies africaines, surtout qu’entre 1914 et 1918, notamment au Cameroun, territoire colonial allemand disputé avec la France et l’Angleterre, les coloniales allemandes ont été prioritairement surprotégées1. Pourtant, il n’en a pas toujours été ainsi de toutes les crises majeures vécues sur ce territoire colonial. La période française apparaît plus intéressante en ceci que l’exclusion des blanches du front y a été peu évidente. La spécificité du Cameroun entre intérêts français et allemands, et la guerre fratricide qui mettent en opposition idéologique les Français entre eux, sont autant de raisons qui convoquent une attitude particulière des administrateurs coloniaux du Cameroun pour la défense du territoire. Entre 1939 et 1945 en effet, ils mettent à contribution la gente féminine dans la plupart de leurs stratégies adoptées pour la protection des acquis français outre-mer. De fait, au milieu des démonstrations de force essentiellement viriles vécues alors, il faut parfois compter sur une catégorie de femmes qui t battent parallèlement en brèche les stéréotypes liés au sexe, pour pénétrer un cercle fermé et jouer un rôle plus ou moins déterminant dans la défense de ce territoire français outre-mer. Face aux velléités de sujétion nazie qu’elles récusent, quelques coloniales surtout françaises se frottent exceptionnellement aux protagonistes du moment pour clairement s’affirmer comme de valeureuses résistantes de l’intégrité territoriale française. Qui étaient ces résistantes à l’ordre nazi au Cameroun ? Pourquoi et comment s’intègrent-elles dans le mouvement de résistance local ? A quel titre et de quelle manière ? Quels rôles y jouent-elles entre 1939 et 1945 ? Des questions pertinentes qu’il serait loisible d’analyser en profondeur afin de mettre en lumière la véritable participation féminine pour la vie et à la survie de la France en colonie, notamment au Cameroun. (Cameroun 1939 - 1945, Femmes, activisme français, résistance)

Estimating Gesture Accuracy in Motion-Based Health Games

This manuscript details a technique for estimating gesture accuracy within the context of motion-based health video games using the MICROSOFT KINECT. We created a physical therapy game that requires players to imitate clinically significant reference gestures. Player performance is represented by the degree of similarity between the performed and reference gestures and is quantified by collecting the Euler angles of the player's gestures, converting them to a three-dimensional vector, and comparing the magnitude between the vectors. Lower difference values represent greater gestural correspondence and therefore greater player performance. A group of thirty-one subjects was tested. Subjects achieved gestural correspondence sufficient to complete the game's objectives while also improving their ability to perform reference gestures accurately.