Shape Recipes: Scene Representations that Refer to the Image

The goal of low-level vision is to estimate an underlying scene, given an observed image. Real-world scenes (e.g., albedos or shapes) can be very complex, conventionally requiring high dimensional representations which are hard to estimate and store. We propose a low-dimensional representation, called a scene recipe, that relies on the image itself to describe the complex scene configurations. Shape recipes are an example: these are the regression coefficients that predict the bandpassed shape from bandpassed image data. We describe the benefits of this representation, and show two uses illustrating their properties: (1) we improve stereo shape estimates by learning shape recipes at low resolution and applying them at full resolution; (2) Shape recipes implicitly contain information about lighting and materials and we use them for material segmentation.

Diagnóstico artesanal Santiago de Cali, Guadalajara de la Victoria de Buga, Tulua, Valle del Cauca.

91 hojas : ilustraciones, fotografías a color.

Diagnóstico y reconocimiento de los oficios en los municipios de Plato, Pivijay y Pedraza en el departamento de Magdalena regional Costa Atlántica.

12 hojas.

India and India missions : including sketches of the gigantic system of hinduism, both in theory and practive : also notices of some of the principal agencies employed in conducting the process of Indian evangalization, etc. etc.

http://books.google.com/books?vid=OCLC05766993

Modeling the dynamics of electromagnetically agitated metallurgical flows: levitation, cold crucible, aluminium electrolysis, etc.

We present practical modelling techniques for electromagnetically agitated liquid metal flows involving dynamic change of the fluid volume and shape during melting and the free surface oscillation. Typically the electromagnetic field is strongly coupled to the free surface dynamics and the heat-mass transfer. Accurate pseudo-spectral code and the k-omega turbulence model modified for complex and transitional flows with free surfaces are used for these simulations. The considered examples include magnetic suspension melting, induction scull remelting (cold crucible), levitation and aluminium electrolysis cells. The process control and the energy savings issues are analysed.

Application of CFD in vacuum dezincing process

Most lead bullion is refined by pyrometallurgical methods - this involves a serics of processes that remove the antimony (softening) silver (Parkes process), zinc (vacuum dezincing) and if need be, bismuth (Betterton-Kroll process). The first step, softening, removes the antimony, arsenic and tin by air oxidation in a furnace or by the Harris process. Next, in the Parkes process, zinc is added to the melt to remove the silver and gold. Insoluble zinc, silver and gold compounds are skimmed off from the melt surface. Excess zinc added during desilvering is removed from lead bullion using one of ghree methods: * Vacuum dezincing; * Chlorine dezincing; or * Harris dezincing. The present study concentrates on the Vacuum dezincing process for lead refining. The main aims of the research are to develop mathematical model(s), using Computational Fluid Dyanmics (CFD) a Surface Averaged Model (SAM), to predict the process behaviour under various operating conditions, thus providing detailed information of the process - insight into its reaction to changes of key operating parameters. Finally, the model will be used to optimise the process in terms of initial feed concentration, temperature, vacuum height cooling rate, etc.

To tremble the zero: art in the age of algorithmic reproduction

'To Tremble the Zero: Art in the Age of Algorithmic Reproduction' is a philosophic, political and sensuous journey playing with (and against) Benjamin's 'Art in the Age of Mechanical Reproduction'. In an age inundated by the 'post-': postmodernity, posthuman, post art, postsexual, post-feminist, post-society, post-nation, etc, 'To Tremble the Zero' sets out to re/present the nature of what it means to do or make 'art', as well as what it means to be or have 'human/ity' when the ground is nothing other than the fractal, and algorithmically infinite, combinations of zero and one. The work will address also the unfortunate way in which modern forms of metaphysics continue to creep 'unsuspectingly' into our understanding of contemporary media/electronic arts, despite (or perhaps even because of) the attempts by Latour, Badiou, or Agamben especially when addressing the zero/one as if a contradictory 'binary' rather than as a kind of 'slice' or (to use Deleuze and Guattari) an immanent plane of immanence. This work argues that by retrieving Benjamin, Einstein, Gödel, and Haraway, a rather different story of art can be told.