514 resultados para Exsolution textures


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Reflejando la ciudad moderna, el flâneur se encuentra atrapado entre dos tiempos: el presente, que se transforma continuamente, y el pasado, que permanece en forma de vestigios materiales. Desde su aparición en la literatura, la trayectoria del flâneur va ligada a los principales cambios históricos, sociales y culturales, que se plasman en distintas texturas urbanas. En todas ellas ejerce una función de nexo entre la ciudad antigua y la nueva que se superpone. El objeto del presente artículo es analizar la evolución de esta figura histórico y literaria como punto de partida para interpretar la obra en prosa Tetralogie der Erinnerung (1992-2004) de Dieter Forte.

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Few works within the realm of the piano repertoire have amassed a reputation as formidable as Gaspard de la Nuit. These three pieces, each unique in character and pianistic requirements, arguably represent a pinnacle of early 20th-century French piano music. This paper seeks to illuminate points for consideration for the pianist who wishes to embark upon studying the work for performance, and for the musicologist.

I shall first consider the three character poems of Aloysius Bertrand that inspired the suite, as an understanding of these Diabolic creations is essential to understanding the piece analytically and programmatically. I shall then explore the subtitle of Bertrand’s Gaspard de la Nuit: ‘Fantaisies À La Manière De Rembrandt Et De Callot’, as an acknowledgement of these artists helps us better to engage with Bertrand’s poetry, and provides us with a direct link to the visual stimuli for Ravel’s compositions.

Finally, using Ondine as a case study, I shall explore how the composer unifies his inspirations to paint a musical portrait of both the character and the content of Bertrand’s poem. I shall focus on three particular aspects of Ravel’s style: the refined textures that create washes of watery colour, subtle rhythmic variations that imply the ‘deep, rolling currents of the sleeping lake’, and the simple melodic lines sung by the water nymph in the manner of a French air. Each element plays its part in the thematic development that illustrates Ondine’s seductive powers.

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Mon travail en estampe, que ce soit en lithographie, en gravure ou en sérigraphie, se base sur le principe de la création de générations par le brouillage répété de l’image-matrice. L’œuvre élaborée à partir de photographies est confrontée à une altération de l’image-initiale par un processus de transformation. Cela est la source même de la création des diverses générations ou états qui seront engendrés. Images floues et précises à la fois, mes œuvres laissent transparaître un mystère, dégagé par les variations de nuances, lesquelles jouent sur la netteté des images. La résultante de chaque phase du procédé de création permet de noter des pertes, des effacements et des transformations qui ont mené à la création de l’image. Mais encore, il y a renforcement de la temporalité de l’image-matrice en la faisant revivre dans un autre contexte. Les effets de transparence, l’utilisation de monochromes noir et blanc, le travail des textures et le souci du détail sont également des aspects omniprésents dans ma démarche artistique. Enfin, mon travail laisse place aux erreurs de parcours pour les mettre à profit.

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Résumé : Face à l’accroissement de la résolution spatiale des capteurs optiques satellitaires, de nouvelles stratégies doivent être développées pour classifier les images de télédétection. En effet, l’abondance de détails dans ces images diminue fortement l’efficacité des classifications spectrales; de nombreuses méthodes de classification texturale, notamment les approches statistiques, ne sont plus adaptées. À l’inverse, les approches structurelles offrent une ouverture intéressante : ces approches orientées objet consistent à étudier la structure de l’image pour en interpréter le sens. Un algorithme de ce type est proposé dans la première partie de cette thèse. Reposant sur la détection et l’analyse de points-clés (KPC : KeyPoint-based Classification), il offre une solution efficace au problème de la classification d’images à très haute résolution spatiale. Les classifications effectuées sur les données montrent en particulier sa capacité à différencier des textures visuellement similaires. Par ailleurs, il a été montré dans la littérature que la fusion évidentielle, reposant sur la théorie de Dempster-Shafer, est tout à fait adaptée aux images de télédétection en raison de son aptitude à intégrer des concepts tels que l’ambiguïté et l’incertitude. Peu d’études ont en revanche été menées sur l’application de cette théorie à des données texturales complexes telles que celles issues de classifications structurelles. La seconde partie de cette thèse vise à combler ce manque, en s’intéressant à la fusion de classifications KPC multi-échelle par la théorie de Dempster-Shafer. Les tests menés montrent que cette approche multi-échelle permet d’améliorer la classification finale dans le cas où l’image initiale est de faible qualité. De plus, l’étude effectuée met en évidence le potentiel d’amélioration apporté par l’estimation de la fiabilité des classifications intermédiaires, et fournit des pistes pour mener ces estimations.

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Abstract : Images acquired from unmanned aerial vehicles (UAVs) can provide data with unprecedented spatial and temporal resolution for three-dimensional (3D) modeling. Solutions developed for this purpose are mainly operating based on photogrammetry concepts, namely UAV-Photogrammetry Systems (UAV-PS). Such systems are used in applications where both geospatial and visual information of the environment is required. These applications include, but are not limited to, natural resource management such as precision agriculture, military and police-related services such as traffic-law enforcement, precision engineering such as infrastructure inspection, and health services such as epidemic emergency management. UAV-photogrammetry systems can be differentiated based on their spatial characteristics in terms of accuracy and resolution. That is some applications, such as precision engineering, require high-resolution and high-accuracy information of the environment (e.g. 3D modeling with less than one centimeter accuracy and resolution). In other applications, lower levels of accuracy might be sufficient, (e.g. wildlife management needing few decimeters of resolution). However, even in those applications, the specific characteristics of UAV-PSs should be well considered in the steps of both system development and application in order to yield satisfying results. In this regard, this thesis presents a comprehensive review of the applications of unmanned aerial imagery, where the objective was to determine the challenges that remote-sensing applications of UAV systems currently face. This review also allowed recognizing the specific characteristics and requirements of UAV-PSs, which are mostly ignored or not thoroughly assessed in recent studies. Accordingly, the focus of the first part of this thesis is on exploring the methodological and experimental aspects of implementing a UAV-PS. The developed system was extensively evaluated for precise modeling of an open-pit gravel mine and performing volumetric-change measurements. This application was selected for two main reasons. Firstly, this case study provided a challenging environment for 3D modeling, in terms of scale changes, terrain relief variations as well as structure and texture diversities. Secondly, open-pit-mine monitoring demands high levels of accuracy, which justifies our efforts to improve the developed UAV-PS to its maximum capacities. The hardware of the system consisted of an electric-powered helicopter, a high-resolution digital camera, and an inertial navigation system. The software of the system included the in-house programs specifically designed for camera calibration, platform calibration, system integration, onboard data acquisition, flight planning and ground control point (GCP) detection. The detailed features of the system are discussed in the thesis, and solutions are proposed in order to enhance the system and its photogrammetric outputs. The accuracy of the results was evaluated under various mapping conditions, including direct georeferencing and indirect georeferencing with different numbers, distributions and types of ground control points. Additionally, the effects of imaging configuration and network stability on modeling accuracy were assessed. The second part of this thesis concentrates on improving the techniques of sparse and dense reconstruction. The proposed solutions are alternatives to traditional aerial photogrammetry techniques, properly adapted to specific characteristics of unmanned, low-altitude imagery. Firstly, a method was developed for robust sparse matching and epipolar-geometry estimation. The main achievement of this method was its capacity to handle a very high percentage of outliers (errors among corresponding points) with remarkable computational efficiency (compared to the state-of-the-art techniques). Secondly, a block bundle adjustment (BBA) strategy was proposed based on the integration of intrinsic camera calibration parameters as pseudo-observations to Gauss-Helmert model. The principal advantage of this strategy was controlling the adverse effect of unstable imaging networks and noisy image observations on the accuracy of self-calibration. The sparse implementation of this strategy was also performed, which allowed its application to data sets containing a lot of tie points. Finally, the concepts of intrinsic curves were revisited for dense stereo matching. The proposed technique could achieve a high level of accuracy and efficiency by searching only through a small fraction of the whole disparity search space as well as internally handling occlusions and matching ambiguities. These photogrammetric solutions were extensively tested using synthetic data, close-range images and the images acquired from the gravel-pit mine. Achieving absolute 3D mapping accuracy of 11±7 mm illustrated the success of this system for high-precision modeling of the environment.

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We theoretically explore atomic Bose-Einstein condensates (BECs) subject to position-dependent spin-orbit coupling (SOC). This SOC can be produced by cyclically laser coupling four internal atomic ground (or metastable) states in an environment where the detuning from resonance depends on position. The resulting spin-orbit coupled BEC (SOBEC) phase separates into domains, each of which contain density modulations-stripes-aligned either along the x or y direction. In each domain, the stripe orientation is determined by the sign of the local detuning. When these stripes have mismatched spatial periods along domain boundaries, non-trivial topological spin textures form at the interface, including skyrmions-like spin vortices and anti-vortices. In contrast to vortices present in conventional rotating BECs, these spin-vortices are stable topological defects that are not present in the corresponding homogenous stripe-phase SOBECs.

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A ilustração aplicada ao branding resulta de um modo reflexivo por parte do autor. Esse modo é, por si só, o papel do ilustrador como designer gráfico. A identidade de uma marca nasce da sua história, contexto e sensações, as quais o autor adquire e transmite, segundo as suas vivências, de modo a responder às necessidades das pessoas que o rodeiam. O desenvolvimento de uma marca é um longo processo de análise e reflexão, contínuo e exigente. Aplicando a ilustração a este meio, como objeto visual principal, a língua deixa de ser um entrave e a identidade passa a ser comunicada aos olhos e memória de qualquer um, de forma imediata e eficaz. Conceptualmente, a Tinta Barroca absorve estes princípios, transformando-se numa marca de eventos culturais, embora bastante focada em eventos que podem abranger jantares bem portugueses ou provas de vinho. O projeto foi desenvolvido à base do experimentalismo. Todas as ilustrações da marca foram, numa primeira fase, produzidas manualmente e posteriormente tratadas digitalmente, testando diferentes formas, texturas e materiais. A excessividade ilustrativa é o ponto de partida para comunicar as ideologias da Tinta Barroca, baseando-se no barroquismo, erotismo e nos prazeres da vida. A identidade gráfica da marca misturase com uma decoração já pré-definida: uma mesa bem preenchida e recheada de flores, frutos, vinho e comidas divinais, que se aproximam, pelo excesso, dos princípios do barroco.

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The Santa Eulalia plutonic complex (SEPC) is a late-Variscan granitic body placed in the Ossa-Morena Zone. The host rocks of the complex belong to metamorphic formations from Proterozoic to Lower Paleozoic. The SEPC is a ring massif (ca. 400 km2 area) composed by two main granitic facies with different colours and textures. From the rim to the core, there is (i) a peripheral pink medium- to coarse-grained granite (G0 group) involving large elongated masses of mafic and intermediate rocks, from gabbros to granodiorites (M group), and (ii) a central gray medium-grained granite (G1 group). The mafic to intermediate rocks (M group) are metaluminous and show wide compositions: 3.34–13.51 wt% MgO; 0.70–7.20 ppm Th; 0.84–1.06 (Eu/Eu*)N (Eu* calculated between Sm and Tb); 0.23–0.97 (Nb/Nb*)N (Nb* calculated between Th and La). Although involving the M-type bodies and forming the outer ring, the G0 granites are the most differentiated magmatic rocks of the SEPC, with a transitional character between metaluminous and peraluminous: 0.00–0.62 wt% MgO; 15.00–56.00 ppm Th; and 0.19–0.42 (Eu/Eu*)N ; 0.08–0.19 (Nb/Nb*)N [1][2]. The G1 group is composed by monzonitic granites with a dominant peraluminous character and represents the most homogeneous compositional group of the SEPC: 0.65–1.02 wt% MgO; 13.00–16.95 ppm Th; 0.57–0.70 (Eu/Eu*)N ; 0.14–0.16 (Nb/Nb*)N . According to the SiO2 vs. (Na2O+K2O–CaO) relationships, the M and G1 groups predominantly fall in the calc-alkaline field, while the G0 group is essencially alkali-calcic; on the basis of the SiO2 vs. FeOt/(FeOt+MgO) correlation, SEPC should be considered as a magnesian plutonic association [3]. New geochronological data (U-Pb on zircons) slightly correct the age of the SEPC, previously obtained by other methods (290 Ma, [4]). They provide ages of 306  2 Ma for the M group, 305  6 Ma for the G1 group, and 301  4 Ma for the G0 group, which confirm the late-Variscan character of the SEPC, indicating however a faintly older emplacement, during the Upper Carboniferous. Recent whole-rock isotopic data show that the Rb-Sr system suffered significant post-magmatic disturbance, but reveal a consistent set of Sm-Nd results valuable in the approach to the magmatic sources of this massif: M group (2.9 < Ndi < +1.8); G1 group (5.8 < Ndi < 4.6); G0 group (2.2 < Ndi < 0.8). These geochemical data suggest a petrogenetic model for the SEPC explained by a magmatic event developed in two stages. Initially, magmas derived from long-term depleted mantle sources (Ndi < +1.8 in M group) were extracted to the crust promoting its partial melting and extensive mixing and/or AFC magmatic evolution, thereby generating the G1 granites (Ndi < 4.6). Subsequently, a later extraction of similar primary magmas in the same place or nearby, could have caused partial melting of some intermediate facies (e.g. diorites) of the M group, followed by magmatic differentiation processes, mainly fractional crystallization, able to produce residual liquids compositionally close to the G0 granites (Ndi < 0.8). The kinetic energy associated with the structurally controlled (cauldron subsidence type?) motion of the G0 liquids to the periphery, would have been strong enough to drag up M group blocks as those occurring inside the G0 granitic ring.

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Humans have a high ability to extract visual data information acquired by sight. Trought a learning process, which starts at birth and continues throughout life, image interpretation becomes almost instinctively. At a glance, one can easily describe a scene with reasonable precision, naming its main components. Usually, this is done by extracting low-level features such as edges, shapes and textures, and associanting them to high level meanings. In this way, a semantic description of the scene is done. An example of this, is the human capacity to recognize and describe other people physical and behavioral characteristics, or biometrics. Soft-biometrics also represents inherent characteristics of human body and behaviour, but do not allow unique person identification. Computer vision area aims to develop methods capable of performing visual interpretation with performance similar to humans. This thesis aims to propose computer vison methods which allows high level information extraction from images in the form of soft biometrics. This problem is approached in two ways, unsupervised and supervised learning methods. The first seeks to group images via an automatic feature extraction learning , using both convolution techniques, evolutionary computing and clustering. In this approach employed images contains faces and people. Second approach employs convolutional neural networks, which have the ability to operate on raw images, learning both feature extraction and classification processes. Here, images are classified according to gender and clothes, divided into upper and lower parts of human body. First approach, when tested with different image datasets obtained an accuracy of approximately 80% for faces and non-faces and 70% for people and non-person. The second tested using images and videos, obtained an accuracy of about 70% for gender, 80% to the upper clothes and 90% to lower clothes. The results of these case studies, show that proposed methods are promising, allowing the realization of automatic high level information image annotation. This opens possibilities for development of applications in diverse areas such as content-based image and video search and automatica video survaillance, reducing human effort in the task of manual annotation and monitoring.

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Die Gesteine des bearbeiteten Aufschlusses, dem Naturdenkmal "Saurierfährten Münchehagen" bei Münchehagen (Rehburger Berge), liegen stratigraphisch in der Bückeberg-Formation des Berrias (Wealden). Aufgeschlossen ist der Hauptsandstein (Wealden 3) . Es werden die Sedimenttexturen der Sohlbankfläche des ehemaligen Steinbruchs analysiert und interpretiert. Vorherrschende Schichtungstypen sind Wellenrippelschichtung und Flaserschichtung. Die Sedimente sind stark bioturbat. Auf mehreren freiliegenden Flächenniveaus der Sohlbank sind Rip- pelmarken zu beobachten, die systematisch vermessen wurden. Danach handelt es sich uro Wellenrippeln und untergeordnet um strömungsüberformte Wellenrippeln durch ablaufendes Wasser. Zahlreiche Merkmale zeigen wiederholtes Auftauchen und Trok- kenfallen an. Tonlagen kennzeichnen zeitweilige Stillwasserbedingungen. Ein ehemals verzweigtes Rinnensystem ist in Relikten erhalten und beweist ebenfalls einen wechselnden Wasserstand (ablaufendes Wasser). Sporadisch kam es im Zuge hochenergetischer Ereignisse zu einem schichtflutartigen Abfließen des Wassers. Eine reiche Ichnofauna ist zu beobachten. Wenige Spurentypen sind vorhanden, die Spurendichte ist jedoch sehr hoch. Es dominieren horizontale oder wenig geneigte Gestaltungswühlgefüge, vertikale Bauten kommen nur untergeordnet vor. Als häufigste Spurentypen treten Thalassinoides, Muensteria, Plano- lites und Pelecypodichnus auf. Die Größe der Ichnofossilien ist meist gering. Die Spuren bilden eine Ichnocoenose aus Ichnofossilien der Cruziana- und untergeordnet der Skolithos- Fazies. Bivalven belegen Brackwasser-Verhältnisse. Dies alles sind Merkmale eines lagunären Ablagerungsraumes, gelegen am Rand eines gezeitenarmen bzw. -losen Nebenmeeres (Niedersächsisches Becken) im Übergang von der fluviatilen in die litorale Fazies im rückwärtigen Bereich eines Barrierensystems. Wahrscheinlich spielte Wind eine entscheidende Rolle als Ursache für Wasserspiegelschwankungen. Die maximale Wassertiefe bei auflandigem Sturm hat vermutlich nicht mehr als 3 - 4 m betragen. Sonst war sie wahrscheinlich deutlich geringer und ermöglichte Dinosauriern ein Durchwaten des Gewässers, wie Fährten auf der Sohlfläche beweisen.

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This thesis proposes a generic visual perception architecture for robotic clothes perception and manipulation. This proposed architecture is fully integrated with a stereo vision system and a dual-arm robot and is able to perform a number of autonomous laundering tasks. Clothes perception and manipulation is a novel research topic in robotics and has experienced rapid development in recent years. Compared to the task of perceiving and manipulating rigid objects, clothes perception and manipulation poses a greater challenge. This can be attributed to two reasons: firstly, deformable clothing requires precise (high-acuity) visual perception and dexterous manipulation; secondly, as clothing approximates a non-rigid 2-manifold in 3-space, that can adopt a quasi-infinite configuration space, the potential variability in the appearance of clothing items makes them difficult to understand, identify uniquely, and interact with by machine. From an applications perspective, and as part of EU CloPeMa project, the integrated visual perception architecture refines a pre-existing clothing manipulation pipeline by completing pre-wash clothes (category) sorting (using single-shot or interactive perception for garment categorisation and manipulation) and post-wash dual-arm flattening. To the best of the author’s knowledge, as investigated in this thesis, the autonomous clothing perception and manipulation solutions presented here were first proposed and reported by the author. All of the reported robot demonstrations in this work follow a perception-manipulation method- ology where visual and tactile feedback (in the form of surface wrinkledness captured by the high accuracy depth sensor i.e. CloPeMa stereo head or the predictive confidence modelled by Gaussian Processing) serve as the halting criteria in the flattening and sorting tasks, respectively. From scientific perspective, the proposed visual perception architecture addresses the above challenges by parsing and grouping 3D clothing configurations hierarchically from low-level curvatures, through mid-level surface shape representations (providing topological descriptions and 3D texture representations), to high-level semantic structures and statistical descriptions. A range of visual features such as Shape Index, Surface Topologies Analysis and Local Binary Patterns have been adapted within this work to parse clothing surfaces and textures and several novel features have been devised, including B-Spline Patches with Locality-Constrained Linear coding, and Topology Spatial Distance to describe and quantify generic landmarks (wrinkles and folds). The essence of this proposed architecture comprises 3D generic surface parsing and interpretation, which is critical to underpinning a number of laundering tasks and has the potential to be extended to other rigid and non-rigid object perception and manipulation tasks. The experimental results presented in this thesis demonstrate that: firstly, the proposed grasp- ing approach achieves on-average 84.7% accuracy; secondly, the proposed flattening approach is able to flatten towels, t-shirts and pants (shorts) within 9 iterations on-average; thirdly, the proposed clothes recognition pipeline can recognise clothes categories from highly wrinkled configurations and advances the state-of-the-art by 36% in terms of classification accuracy, achieving an 83.2% true-positive classification rate when discriminating between five categories of clothes; finally the Gaussian Process based interactive perception approach exhibits a substantial improvement over single-shot perception. Accordingly, this thesis has advanced the state-of-the-art of robot clothes perception and manipulation.

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Dissertação de Mestrado, Biologia Marinha, Faculdade de Ciências e Tecnologias, Universidade do Algarve, 2014

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Dissertação para obtenção do grau de Mestre em Arquitectura com Especialização em Arquitectura de Interiores, apresentada na Universidade de Lisboa - Faculdade de Arquitectura.

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Este estágio permitiu-me reflectir sobre questões fundamentais para a minha formação em Dramaturgia e Encenação. A capacidade de trabalho e coordenação requeridas a um encenador tomaram-se preocupações concretas no meu trabalho. Ter a noção de todos os elementos a ter em conta para criar um espectáculo permitiu-me compreender a importância individual de cada um, bem como a minúcia da harmonização entre eles. Esta viagem começa na origem e compreensão do texto, passando pela análise do trabalho do encenador, e culminando na observação da evolução do meu trabalho. Executar o que até agora apenas conhecia das linhas escritas por Peter Brook, Artaud, Stanislavki, António Damásio e Erving Goffman, entre outros, significa levantar um véu e ver com os meus olhos as texturas que compõem a arte do Teatro. ABSTRACT: This training period opened the field for broader reflection on fundamental issues related to Dramatology and Staging Techniques. The skills acquired, the coordination, and the endurance demanded from a stage director showed the actual dimension of the whole that one must consider when creating a show. namely. by understanding the importance of each and every individual on stage as well as the difficult minute details necessary to develop a sense of harmony with different parts. My voyage starts with the work, ending with the criticism of my own work. With practical staging experience - unveiling the most significant textures in the art of Theatre - I fully realized the writing of authors such as Brook. Artaud. Stanislavski, Damacio and Goffman.

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En nuestro país en los últimos tiempos se ha dado un boom en el área gastronómica ya que se empieza a dar mucho realce al tema de rescatar sabores y tradiciones, además las personas cada vez se van volviendo más exigentes y comparativas , esto nos lleva a crear nuevas opciones de sabores y técnicas para la elaboración de los mismos. De cierta manera las personas que elaboramos alimentos nos vemos en la obligación de satisfacer a nuestros clientes ya no sólo en el sabor. Ahora también en presentaciones y texturas que lleguen a sorprenderlos. Sin olvidarnos de las raíces propias de cada plato y más bien resaltando el consumo de cada elemento que los compone. Así hacemos una fusión perfecta entre lo moderno y lo tradicional