Automated On-Site Retrieval of Project Information

Among several others, the on-site inspection process is mainly concerned with finding the right design and specifications information needed to inspect each newly constructed segment or element. While inspecting steel erection, for example, inspectors need to locate the right drawings for each member and the corresponding specifications sections that describe the allowable deviations in placement among others. These information seeking tasks are highly monotonous, time consuming and often erroneous, due to the high similarity of drawings and constructed elements and the abundance of information involved which can confuse the inspector. To address this problem, this paper presents the first steps of research that is investigating the requirements of an automated computer vision-based approach to automatically identify “as-built” information and use it to retrieve “as-designed” project information for field construction, inspection, and maintenance tasks. Under this approach, a visual pattern recognition model was developed that aims to allow automatic identification of construction entities and materials visible in the camera’s field of view at a given time and location, and automatic retrieval of relevant design and specifications information.

A Theory of How the Brain Might Work

I wish to propose a quite speculative new version of the grandmother cell theory to explain how the brain, or parts of it, may work. In particular, I discuss how the visual system may learn to recognize 3D objects. The model would apply directly to the cortical cells involved in visual face recognition. I will also outline the relation of our theory to existing models of the cerebellum and of motor control. Specific biophysical mechanisms can be readily suggested as part of a basic type of neural circuitry that can learn to approximate multidimensional input-output mappings from sets of examples and that is expected to be replicated in different regions of the brain and across modalities. The main points of the theory are: -the brain uses modules for multivariate function approximation as basic components of several of its information processing subsystems. -these modules are realized as HyperBF networks (Poggio and Girosi, 1990a,b). -HyperBF networks can be implemented in terms of biologically plausible mechanisms and circuitry. The theory predicts a specific type of population coding that represents an extension of schemes such as look-up tables. I will conclude with some speculations about the trade-off between memory and computation and the evolution of intelligence.

Flawed Premises and Unexpected Consequences: Support of Regional Languages in Europe:Support of Regional Languages in Europe

This article discusses the relationship between three language communities in Europe with variant levels of official recognition, namely Kashub, Sorb, and Silesian, and the institutions of their host states as regards their respective use, promotion, and revital-ization. Most language communities across the world campaign for recognition within a geographic/political region, or on the basis of a historic/group identity to ensure their language's use and status. The examples discussed here illustrate that language recognition and policies resulting therefrom and promoting official monolin-gualism strengthen the symbolic status of the language but contribute little to the functionality of language communities outside the area. As this article illustrates, in increasingly multilingual societies, language policies cut off its speakers from the political, economic, and social opportunities accessible through the medium of languages that lack official recognition locally. © 2014 Taylor & Francis Group, LLC.

A ilustração enquanto processo e pensamento: autoria e interpretação

A ilustração como expressão, cumprindo o desígnio de comunicar visualmente, é reveladora de um modo específico de processo e pensamento. E pelo facto desse modo se constituir a partir do sentido implícito (do que não é dito), exigindo para se manifestar a participação cognitiva e afectiva do ilustrador, revela marcas de subjectividade e de poética portadoras de soluções narrativas, gráficas e plásticas originais. Essa transmutação entre as linguagens verbal e visual está impregnada de experiências, memórias e conhecimento; de tudo aquilo, enfim, que pelo corpo é percebido e sentido. Por isso se entende que configura, necessariamente, algo novo, já que não existem dois seres organicamente iguais. Tem-se como objectivo desta tese, reflectir sobre a ilustração ficcional enquanto construção de um autor na interpretação do texto de um outro, querendo, deste modo, contribuir para a afirmação do que é hoje a ilustração. Pretende-se, neste percurso, compreender os desígnios que cumpre a ilustração na actualidade e explicar o seu protagonismo no contexto presente do design de comunicação; quer-se ainda evidenciar que a prática da ilustração contamina ou influencia a prática do projecto de design; e que, por seu lado, a prática do projecto de design confere um entendimento distinto à prática da ilustração. As ilustrações que serão aqui objecto de estudo, são aquelas que manifestam um processo em cuja génese está a interpretação e o sentido que o seu autor atribui ao programa, e que se identificam, por isso, como próximas do projecto de design. O trabalho prático desenvolve-se pela selecção de autores que correspondem a esses pressupostos, pela sua entrevista e pela apresentação de projectos da sua autoria que justificam e reforçam a perspectiva teórica. Do confronto entre as respostas e os artefactos produzidos, conclui-se que a ilustração é, na singularidade do seu pensamento e enquanto recurso expressivo, configuradora de inovação semântica para o projecto de design de comunicação.

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How is it possible that civilization has a global understanding of the abstraction of the human form? At a subconscious level as humans we have the ability to find the form of the body in the most minimal of shapes, objects, landscape and even natural phenomena such as clouds, it is an ability inherent in human nature. This deep-rooted facility to recognise the human form at various levels of abstraction is also developed further by our life experiences, environment and total education; specifically in the fine and applied arts. For this research I have focused on the change between realistic representations of the human form to complete abstraction. I have broken it down to its most basic elements to explore at what point our visual language allows us to recognise and define a shape or object as being influenced by, or connected to, the human form. I have concentrated on extending my own visual language relating to the human form within my own practice. A series of practical research projects has been undertaken and has been supported by a new series of investigative works, drawings and written evidence of the ways in which the figure can be represented, documenting the process via the thesis and final works. As part of my research, I have investigated the way artists working with clay have abstracted the human form focusing in particular on work from the 1950s to the present day using clay, drawing and installation. I have looked at how, over this period, artists have developed their own visual signifiers of the human form within their abstract/representational creations. The aim of this research will be falls into two parts: • To investigate how far one can push the human form in clay before it moves into abstraction • To locate the vanishing point where viewers still identify the human within ceramic abstract sculpture

Cortical object segregation and categorization by multi-scale line and edge coding

In this paper we present an improved scheme for line and edge detection in cortical area V1, based on responses of simple and complex cells, truly multi-scale with no free parameters. We illustrate the multi-scale representation for visual reconstruction, and show how object segregation can be achieved with coarse-to-finescale groupings. A two-level object categorization scenario is tested in which pre-categorization is based on coarse scales only, and final categorization on coarse plus fine scales. Processing schemes are discussed in the framework of a complete cortical architecture.

A interacção entre a sala de aula e o museu como estratégia de envolvimento na aprendizagem

Relatório da prática de ensino supervisionada, Mestrado em Ensino de Artes Visuais, Universidade de Lisboa, 2011

Cultura, arte e media na identidade timorense

Tese de doutoramento, Estudos de Literatura e de Cultura (Cultura e Comunicação), Universidade de Lisboa, Faculdade de Letras, 2015

Reconhecimento de língua gestual

Trabalho Final de Mestrado para obtenção do grau de Mestre em Engenharia Informática e Computadores

Signed Tintype of African American Men in Derby Hats [n.d.]

This undated small black and white tintype, slightly scratched, discolored and bent with age, shows a group of Black men posing for an unknown photographer. There is handwritten signature scratched into the reverse which appears to read "B.J." and "Owen" (see digital image of reverse). The original also has a hand-drawn "X" over the face of the seated man in the middle. This tintype was in the possession of Iris Sloman Bell, of St. Catharines, Ontario. The Sloman - Bell family descendants include former American slaves who settled in Canada."Tintypes were the invention of Prof. Hamilton Smith of Ohio. They begin as thin sheets of iron, covered with a layer of black paint. This serves as the base for the same iodized collodion coating and silver nitrate bath used in the ambrotype process. First made in 1856, millions were produced well into the twentieth century. When tintypes were finished in the same sorts of mats and cases used for ambrotypes, it can be almost impossible to distinguish which process was used without removing the image to examine the substrate." Source: American Museum of Photography http://www.photographymuseum.com/primer.html

Map - First Division Sector Coblenz - Bridghead

A large map titled "Map of First Division Sector Coblenz-Bridgehead" dated 8 May 1919. The map is hand drawn.

Sketch of Canal Lock 2

Sketch of canal lock 2 by S.D. Woodruff. This is a hand drawn sketch, n.d.

Sketch of John Gibson Brick Building

Sketch of John Gibson brick building and adjoining lots. This is a hand drawn sketch, n.d.

Description of Edward Dell’s property in Willoughby

Description of Edward Dell’s property in Willoughby which consists of part of Lot no.9. This includes a hand-drawn map and 1 ½ page handwritten description. The edges of this document are slightly burned. This does not affect the text, n.d.

Cash Book

Cash Book, a leather-bound book which has “S.D. Woodruff, St. Catharines, April 1875” written in the front cover. The book contains handwritten lists, specifications for jobs and hand-drawn diagrams. There is one loose page and the pages are slightly yellowed, 1875.