Image indexing and retrieval using an ART-2A neural network architecture

Traditional content-based image retrieval (CBIR) systems use low-level features such as colors, shapes, and textures of images. Although, users make queries based on semantics, which are not easily related to such low-level characteristics. Recent works on CBIR confirm that researchers have been trying to map visual low-level characteristics and high-level semantics. The relation between low-level characteristics and image textual information has motivated this article which proposes a model for automatic classification and categorization of words associated to images. This proposal considers a self-organizing neural network architecture, which classifies textual information without previous learning. Experimental results compare the performance results of the text-based approach to an image retrieval system based on low-level features. (c) 2008 Wiley Periodicals, Inc.

Development of automated image analysis tools for verification of radiotherapy field accuracy with an electronic portal imaging device

The successful management of cancer with radiation relies on the accurate deposition of a prescribed dose to a prescribed anatomical volume within the patient. Treatment set-up errors are inevitable because the alignment of field shaping devices with the patient must be repeated daily up to eighty times during the course of a fractionated radiotherapy treatment. With the invention of electronic portal imaging devices (EPIDs), patient's portal images can be visualized daily in real-time after only a small fraction of the radiation dose has been delivered to each treatment field. However, the accuracy of human visual evaluation of low-contrast portal images has been found to be inadequate. The goal of this research is to develop automated image analysis tools to detect both treatment field shape errors and patient anatomy placement errors with an EPID. A moments method has been developed to align treatment field images to compensate for lack of repositioning precision of the image detector. A figure of merit has also been established to verify the shape and rotation of the treatment fields. Following proper alignment of treatment field boundaries, a cross-correlation method has been developed to detect shifts of the patient's anatomy relative to the treatment field boundary. Phantom studies showed that the moments method aligned the radiation fields to within 0.5mm of translation and 0.5$\sp\circ$ of rotation and that the cross-correlation method aligned anatomical structures inside the radiation field to within 1 mm of translation and 1$\sp\circ$ of rotation. A new procedure of generating and using digitally reconstructed radiographs (DRRs) at megavoltage energies as reference images was also investigated. The procedure allowed a direct comparison between a designed treatment portal and the actual patient setup positions detected by an EPID. Phantom studies confirmed the feasibility of the methodology. Both the moments method and the cross-correlation technique were implemented within an experimental radiotherapy picture archival and communication system (RT-PACS) and were used clinically to evaluate the setup variability of two groups of cancer patients treated with and without an alpha-cradle immobilization aid. The tools developed in this project have proven to be very effective and have played an important role in detecting patient alignment errors and field-shape errors in treatment fields formed by a multileaf collimator (MLC). ^

Increasing source to image distance for AP pelvis imaging: impact on radiation dose and image quality

Aim - A quantative primary study to determine whether increasing source to image distance (SID), with and without the use of automatic exposure control (AEC) for antero-posterior (AP) pelvis imaging, reduces dose whilst still producing an image of diagnostic quality. Methods - Using a computed radiography (CR) system, an anthropomorphic pelvic phantom was positioned for an AP examination using the table bucky. SID was initially set at 110 cm, with tube potential set at a constant 75 kVp, with two outer chambers selected and a fine focal spot of 0.6 mm. SID was then varied from 90 cm to 140 cm with two exposures made at each 5 cm interval, one using the AEC and another with a constant 16 mAs derived from the initial exposure. Effective dose (E) and entrance surface dose (ESD) were calculated for each acquisition. Seven experienced observers blindly graded image quality using a 5-point Likert scale and 2 Alternative Forced Choice software. Signal-to-Noise Ratio (SNR) was calculated for comparison. For each acquisition, femoral head diameter was also measured for magnification indication. Results - Results demonstrated that when increasing SID from 110 cm to 140 cm, both E and ESD reduced by 3.7% and 17.3% respectively when using AEC and 50.13% and 41.79% respectively, when the constant mAs was used. No significant statistical (T-test) difference (p = 0.967) between image quality was detected when increasing SID, with an intra-observer correlation of 0.77 (95% confidence level). SNR reduced slightly for both AEC (38%) and no AEC (36%) with increasing SID. Conclusion - For CR, increasing SID significantly reduces both E and ESD for AP pelvis imaging without adversely affecting image quality.

Reducing effective dose to a paediatric phantom by using different combinations of kVp, mAs and additional filtration whilst maintaining image quality

Purpose: To determine whether using different combinations of kVp and mAs with additional filtration can reduce the effective dose to a paediatric phantom whilst maintaining diagnostic image quality. Methods: 27 images of a paediatric AP pelvis phantom were acquired with different kVp, mAs and additional copper filtration. Images were displayed on quality controlled monitors with dimmed lighting. Ten diagnostic radiographers (5 students and 5 experienced radiographers) had eye tests to assess visual acuity before rating the images. Each image was rated for visual image quality against a reference image using 2 alternative forced choice software using a 5-point Likert scale. Physical measures (SNR and CNR) were also taken to assess image quality. Results: Of the 27 images rated, 13 of them were of acceptable image quality and had a dose lower than the image with standard acquisition parameters. Two were produced without filtration, 6 with 0.1mm and 5 with 0.2mm copper filtration. Statistical analysis found that the inter-rater and intra-rater reliability was high. Discussion: It is possible to obtain an image of acceptable image quality with a dose that is lower than published guidelines. There are some areas of the study that could be improved. These include using a wider range of kVp and mAs to give an exact set of parameters to use. Conclusion: Additional filtration has been identified as amajor tool for reducing effective dose whilst maintaining acceptable image quality in a 5 year old phantom.

Automated image tagging through tag propagation

Trabalho apresentado no âmbito do Mestrado em Engenharia Informática, como requisito parcial Para obtenção do grau de Mestre em Engenharia Informática

Microscopy image segmentation by active contour models

In this thesis a semi-automated cell analysis system is described through image processing. To achieve this, an image processing algorithm was studied in order to segment cells in a semi-automatic way. The main goal of this analysis is to increase the performance of cell image segmentation process, without affecting the results in a significant way. Even though, a totally manual system has the ability of producing the best results, it has the disadvantage of taking too long and being repetitive, when a large number of images need to be processed. An active contour algorithm was tested in a sequence of images taken by a microscope. This algorithm, more commonly known as snakes, allowed the user to define an initial region in which the cell was incorporated. Then, the algorithm would run several times, making the initial region contours to converge to the cell boundaries. With the final contour, it was possible to extract region properties and produce statistical data. This data allowed to say that this algorithm produces similar results to a purely manual system but at a faster rate. On the other hand, it is slower than a purely automatic way but it allows the user to adjust the contour, making it more versatile and tolerant to image variations.

An information theoretic framework for image segmentation

In this paper, an information theoretic framework for image segmentation is presented. This approach is based on the information channel that goes from the image intensity histogram to the regions of the partitioned image. It allows us to define a new family of segmentation methods which maximize the mutual information of the channel. Firstly, a greedy top-down algorithm which partitions an image into homogeneous regions is introduced. Secondly, a histogram quantization algorithm which clusters color bins in a greedy bottom-up way is defined. Finally, the resulting regions in the partitioning algorithm can optionally be merged using the quantized histogram

An information theoretic framework for image segmentation

In this paper, an information theoretic framework for image segmentation is presented. This approach is based on the information channel that goes from the image intensity histogram to the regions of the partitioned image. It allows us to define a new family of segmentation methods which maximize the mutual information of the channel. Firstly, a greedy top-down algorithm which partitions an image into homogeneous regions is introduced. Secondly, a histogram quantization algorithm which clusters color bins in a greedy bottom-up way is defined. Finally, the resulting regions in the partitioning algorithm can optionally be merged using the quantized histogram

An approach to coded structured light to obtain three dimensional information

The human visual ability to perceive depth looks like a puzzle. We perceive three-dimensional spatial information quickly and efficiently by using the binocular stereopsis of our eyes and, what is mote important the learning of the most common objects which we achieved through living. Nowadays, modelling the behaviour of our brain is a fiction, that is why the huge problem of 3D perception and further, interpretation is split into a sequence of easier problems. A lot of research is involved in robot vision in order to obtain 3D information of the surrounded scene. Most of this research is based on modelling the stereopsis of humans by using two cameras as if they were two eyes. This method is known as stereo vision and has been widely studied in the past and is being studied at present, and a lot of work will be surely done in the future. This fact allows us to affirm that this topic is one of the most interesting ones in computer vision. The stereo vision principle is based on obtaining the three dimensional position of an object point from the position of its projective points in both camera image planes. However, before inferring 3D information, the mathematical models of both cameras have to be known. This step is known as camera calibration and is broadly describes in the thesis. Perhaps the most important problem in stereo vision is the determination of the pair of homologue points in the two images, known as the correspondence problem, and it is also one of the most difficult problems to be solved which is currently investigated by a lot of researchers. The epipolar geometry allows us to reduce the correspondence problem. An approach to the epipolar geometry is describes in the thesis. Nevertheless, it does not solve it at all as a lot of considerations have to be taken into account. As an example we have to consider points without correspondence due to a surface occlusion or simply due to a projection out of the camera scope. The interest of the thesis is focused on structured light which has been considered as one of the most frequently used techniques in order to reduce the problems related lo stereo vision. Structured light is based on the relationship between a projected light pattern its projection and an image sensor. The deformations between the pattern projected into the scene and the one captured by the camera, permits to obtain three dimensional information of the illuminated scene. This technique has been widely used in such applications as: 3D object reconstruction, robot navigation, quality control, and so on. Although the projection of regular patterns solve the problem of points without match, it does not solve the problem of multiple matching, which leads us to use hard computing algorithms in order to search the correct matches. In recent years, another structured light technique has increased in importance. This technique is based on the codification of the light projected on the scene in order to be used as a tool to obtain an unique match. Each token of light is imaged by the camera, we have to read the label (decode the pattern) in order to solve the correspondence problem. The advantages and disadvantages of stereo vision against structured light and a survey on coded structured light are related and discussed. The work carried out in the frame of this thesis has permitted to present a new coded structured light pattern which solves the correspondence problem uniquely and robust. Unique, as each token of light is coded by a different word which removes the problem of multiple matching. Robust, since the pattern has been coded using the position of each token of light with respect to both co-ordinate axis. Algorithms and experimental results are included in the thesis. The reader can see examples 3D measurement of static objects, and the more complicated measurement of moving objects. The technique can be used in both cases as the pattern is coded by a single projection shot. Then it can be used in several applications of robot vision. Our interest is focused on the mathematical study of the camera and pattern projector models. We are also interested in how these models can be obtained by calibration, and how they can be used to obtained three dimensional information from two correspondence points. Furthermore, we have studied structured light and coded structured light, and we have presented a new coded structured light pattern. However, in this thesis we started from the assumption that the correspondence points could be well-segmented from the captured image. Computer vision constitutes a huge problem and a lot of work is being done at all levels of human vision modelling, starting from a)image acquisition; b) further image enhancement, filtering and processing, c) image segmentation which involves thresholding, thinning, contour detection, texture and colour analysis, and so on. The interest of this thesis starts in the next step, usually known as depth perception or 3D measurement.

An automated calibration method for non-see-through head mounted displays

Accurate calibration of a head mounted display (HMD) is essential both for research on the visual system and for realistic interaction with virtual objects. Yet, existing calibration methods are time consuming and depend on human judgements, making them error prone, and are often limited to optical see-through HMDs. Building on our existing approach to HMD calibration Gilson et al. (2008), we show here how it is possible to calibrate a non-see-through HMD. A camera is placed inside a HMD displaying an image of a regular grid, which is captured by the camera. The HMD is then removed and the camera, which remains fixed in position, is used to capture images of a tracked calibration object in multiple positions. The centroids of the markers on the calibration object are recovered and their locations re-expressed in relation to the HMD grid. This allows established camera calibration techniques to be used to recover estimates of the HMD display's intrinsic parameters (width, height, focal length) and extrinsic parameters (optic centre and orientation of the principal ray). We calibrated a HMD in this manner and report the magnitude of the errors between real image features and reprojected features. Our calibration method produces low reprojection errors without the need for error-prone human judgements.

Do untrustworthy faces facilitate the recognition of antonyms? A critical analysis of thinking the opposite under distrust

Distrust should automatically activate a "thinking the opposite". Thus, according to Schul, Mayo and Burnstein (2004), subjects detect antonyms of adjectives faster when confronted with untrustworthy rather than trustworthy faces. We conducted four experiments within their paradigm to test whether the response latency of detecting antonyms remains stable. We introduced the following changes: the paradigm was applied with and without an induction phase, faces were culturally adapted, the stimuli were presented according more to priming rules, and the canonicity of antonyms was controlled. Results show that the response latency of detecting antonyms is difficult to predict. Even if faces are culturally adapted and priming rules are applied more strictly, response latency depends on whether the induction phase is applied and on the canonicity of antonyms rather than on the trustworthiness of faces. In general, this paradigm seems not to be appropriate to test thinking the opposite under distrust.

Acute onset incomitant image disparity modifies saccadic and vergence eye movements.

New-onset impairment of ocular motility will cause incomitant strabismus, i.e., a gaze-dependent ocular misalignment. This ocular misalignment will cause retinal disparity, that is, a deviation of the spatial position of an image on the retina of both eyes, which is a trigger for a vergence eye movement that results in ocular realignment. If the vergence movement fails, the eyes remain misaligned, resulting in double vision. Adaptive processes to such incomitant vergence stimuli are poorly understood. In this study, we have investigated the physiological oculomotor response of saccadic and vergence eye movements in healthy individuals after shifting gaze from a viewing position without image disparity into a field of view with increased image disparity, thus in conditions mimicking incomitance. Repetitive saccadic eye movements into a visual field with increased stimulus disparity lead to a rapid modification of the oculomotor response: (a) Saccades showed immediate disconjugacy (p < 0.001) resulting in decreased retinal image disparity at the end of a saccade. (b) Vergence kinetics improved over time (p < 0.001). This modified oculomotor response enables a more prompt restoration of ocular alignment in new-onset incomitance.

Traslaciones Poéticas: un recorrido por la Friedrichstrasse de Mies van der Rohe en 1921. Arquitectura, fotografía y cine, la percepción en la arquitectura

El presente ensayo pretende aportar una reflexión sobre el amplio territorio de la imagen en la arquitectura hoy. Para ello un buen ejemplo es el proyecto del Rascacielos de la Friedrichstrasse, realizado por Mies van der Rohe en el periodo de entre guerras de 1921/22. Muchas son las razones que han hecho de esta obra la elegida, pero una más actual sobresale del resto: que de los cientos de ensayos vertidos sobre esta obra solo se haya comentado -salvo alguna excepción- las características objetuales de lo directamente descrito por las vistas -como si fuera un fiel reflejo de la realidad- sin entrar a analizar la verdadera naturaleza física y simbólica de lo representado como expresión subjetiva –espacial- de una arquitectura. Si su importancia como punto de inflexión en el desarrollo inicial de una obra plenamente moderna es un motivo más que suficiente para dedicarle un estudio pormenorizado, ya que puede resultar crucial para comprender los inicios del autor en el Movimiento Moderno. Su presencia como un reducido conjunto de cuatro vistas perspectivas, mezcla de una fotografía del lugar y de un dibujo realizado sobre la misma, acarrea en nuestra opinión significaciones igual de importantes para la comprensión de esta arquitectura que todas aquellas ideas descritas sobre las mismas. Creadas en una época seminal, cuando el lenguaje de la fotografía y el cine están en pleno desarrollo, se puede afirmar que el conjunto de representaciones del Rascacielos de la Friedrichstrasse forman parte como referente histórico de una de las primeras arquitecturas virtuales que pertenecen de pleno derecho al Movimiento Moderno. Paradigma de las más absoluta actualidad, por encontrarse en esa frontera de lo nunca realizado, pero sí asumible espacialmente como realidad fotográfica, las imágenes del rascacielos se pueden considerar así como una de las primeras reflexiones sobre la naturaleza virtual del proyecto arquitectónico postindustrial. No siendo novedoso que la descripción fotográfica de una obra absorba y comunique por sí misma las múltiples propiedades que esta posee, como tampoco lo es que la mayoría de arquitecturas se den por conocidas actualmente a través de los medios. Sorprende que hasta hoy no se hayan analizado con la misma intensidad las múltiples razones que dieron lugar a unas imágenes cuya poética da forma por igual a la arquitectura que representan. Si la intención es reflexionar así sobre este hecho contemporáneo mediante un ejemplo paradigmático, certificado por la historia, nos veremos obligados a emplear una metodología acorde a la condición dual que toda imagen mediatizada produce en su lectura como mezcla fluctuante entre lo que se interpreta de manera autónoma a través de lo representado y de los significados que la imagen adquiere a lo largo de su recorrido como referente histórico. Esta ambivalencia interpretativa llevará a organizar este ensayo mediante dos bloques claramente diferenciados que, complementarios entre sí, siguen el orden de lectura que toda imagen de una arquitectura ofrece a través de los medios. Así, una primera parte, titulada La imagen de una arquitectura, analiza la interpretación que la historia y el autor han dado al rascacielos por medio de su uso en las diferentes exposiciones, revistas, tratados de estilos y monografías de las que ha formado parte. Este recorrido, que es el verdadero espacio donde estas arquitecturas residen, limitado -por una cuestión de poner orden- al estudio a los países que acogieron en vida al autor, servirá para establecer una primera narrativa que expone las diferentes posiciones que la crítica ha producido a lo largo del tiempo. La presencia del primer rascacielos junto al segundo, en la publicación que el arquitecto realiza de manera temprana en Frühlicht, obligará a incorporar esta segunda solución como una parte más del estudio. Cargada de las citas obligadas, de las diferentes personalidades que se han enfrentado a dichos proyectos, este primer análisis historiográfico establece un primer estado de la cuestión donde se revela una lectura ambivalente de los rascacielos. Si la interpretación directa de sus imágenes ha permitido profundizar en las características del vidrio y sus reflejos y en la desnudez de una estructura metálica como claros ejemplos de una expresión moderna y tecnológica de vidrio y el acero. Las particulares formas triangulares del primero y las formas sinuosas del segundo han dado lugar a una multitud de calificaciones, de ser ejemplo tanto de un Expresionismo como de un dadaísmo o constructivismo, que con el tiempo han ido creciendo hacia una admiración artística con una fuerte carga poética. Este lectura histórica, que remata con un breve periodo más actual donde se inicia el cuestionamiento de su carácter utópico y se recupera puntualmente su naturaleza como proyecto, servirá para plantear finalmente una serie de dudas que, sin respuesta aparente, exigen revisar la lectura de sus imágenes como parte de lo que realmente son: expresión de una nueva arquitectura que a partir de ese preciso momento entra de pleno derecho en el Movimiento Moderno. Por otro lado, la existencia en el discurso posterior del arquitecto de un proceso de formalizacion altamente valorado por su autor y la presencia de igual a igual de un lugar en las representaciones y planos de los rascacielos, que la historia parece haber obviado, servirán como razón más que suficiente para la revisión de unas relaciones iniciales con la vanguardia -todavía hoy poco definidas- así como para proponer la lectura renovada de dichas propuestas en altura por lo que también son: proyectos que responden a unas necesidades espaciales de un lugar y tiempo muy determinados. Esta segunda parte, denominada La arquitectura de una imagen, se plantea así más como una inmersión total en el mundo del proyecto que una simple descripción nominal del mismo. Conscientemente simétrica y opuesta a un primer bloque histórico, esta segunda parte -mucho más extensa y parte central de esta tesis- se concentra en el análisis de las imágenes como: aquel conjunto de eventos históricos que aplicados sobre la ciudad, el lugar, el rascacielos, y los procesos técnicos de la imagen dieron lugar a estas arquitecturas como razón de ser. Consecuentemente se tratará pues de bucear en las razones que, ocultas como proceso de formalización, llevaron a Mies a dar un paso más allá hacia a una nueva manera de hacer, ver y pensar su arquitectura, de expresar un espacio. La aproximación a estas imágenes radicará por tanto en resaltar al mismo tiempo la naturaleza de unas representaciones cuyas características fotográficas son el fiel reflejo de una época donde los nuevos medios visuales –cine y fotografía- empiezan a ser cuestionados por su excesiva utilización. La complejidad de unos hechos coincidentes en el tiempo obligará a dividir este estudio en un primer acercamiento general, a la respuesta dada por una mayoría de participantes al concurso, para así cotejar la importancia de una actitud proyectual y contextual común de Mies y sus compañeros. Mezcla de requerimientos y necesidades de la propia historia de la parcela, de las peculiaridades de un lugar y las exigencias programáticas del concurso; el siguiente paso consistirá en reconstruir el proceso de formalización del conjunto de dibujos que caracterizan ambos proyectos para así comprender los mecanismo que, suspendidos como traslaciones entre las diferentes representaciones, operan en la realización física de dichas imágenes y complementan como pensamiento la idea arquitectónica de los mismos. Con lo que se pretende ofrecer dos cosas: una interpretación que tenga en cuenta la novedosa naturaleza de la manera de pensar lo fotográfico en el arquitecto, así como la particular idiosincrasia del momento en que estas concurren. Dicho de otro modo, se realizará una aproximación de las vistas del primer rascacielos que tenga en cuenta la historia tecnológica y visual que rodea al evento y las características de una ejecución física todavía hoy sin aclarar del todo. El descubrimiento de una serie de incoherencias geométricas en las plantas, alzado y vistas del primer proyecto llevará a argumentar la presencia de un trampantojo que, nunca antes revelado, se entiende lleno de unas intenciones espaciales plenamente vanguardistas. Interpretación arquitectónica de las imágenes donde la presencia de una serie de elementos directamente ligados al lenguaje fotográfico y cinematográfico se traduce en una nueva lectura espacial plenamente dinámica llena de dislocación, ritmo y simultaneidad alejada de la idea de ver la forma como un elemento permanentemente fijo. Sugerencia que nos lleva directamente a la lectura del segundo proyecto de rascacielos como una clara continuación de lo imaginado en el primero. Para finalizar, tras una revisión biográfica -previa al proyecto- que desvela unas preocupaciones urbanas y un deseo de cambio anterior al concurso de la Friedrichstrasse, se comparan estas nuevas significaciones espaciales con una práctica de vanguardia que, coetánea a la convocatoria de 1921, demuestran unas investigaciones muy similares con unos mismos intereses cinematográficos. La lectura de las propuestas de tres artistas próximos en ese momento al arquitecto -como son Hans Richter, Moholy-Nagy y El Lissitzky- permiten demostrar unas preocupaciones muy similares a lo conseguido por Mies con los rascacielos que parecen haber servido de ejemplo y motivación mutua para el surgimiento de una nueva espacialidad -más fluida-. Esta lectura permitirá recuperar la importancia de estos dos proyectos como la expresión directa de una nueva manera de pensar y hacer su arquitectura que ya no tendrá vuelta atrás en la obra de Mies. A la vez que recuperar la potencialidad poética de unas vistas que, así definidas reiteradamente por la crítica, se revelan ahora como directas transmisoras de ese deseo de cambio arquitectónico evidenciado en los proyectos posteriores. Racionalización de una poética que al ir más allá de la forma directamente transcrita permite establecer una última reflexión general sobre como opera la imagen en la arquitectura, así como la pertinencia crítica de este proyecto para con el mundo virtual de hoy. En definitiva, más allá del poder evocador de estas representaciones, este será un estudio que pretende cuestionar las características que la imagen de la arquitectura puede proponer más allá de su literalidad por medio de la fascinante interacción que se produce entre la imagen y lo espacialmente imaginado. Encuentros, recursos e intereses de una respuesta plenamente arquitectónica que, además de dar luz a un cambio tan inclasificable como moderno, abre el camino a la interpretación de un proceso de formalizacion que, reiteradamente defendido por su autor justifican una intensidad poética dada por la historia y reafirman una preocupación artística a menudo desmentida por su autor. Dicho de otro modo, si profundizar en las razones arquitectónicas, históricas y técnicas que llevan a Mies a realizar sus rascacielos, por medio de su relación con la vanguardia y el cine, arrojan luz y explican el cambio que se está gestando en el arquitecto cara una nueva espacialidad fluida. Reflexionar sobre su naturaleza espacial -de estas imágenes ya icónicas- equivale a aportar una reflexión crítica sobre la naturaleza simbólica de la imagen de la arquitectura hoy. “Aunque el puesto clave que ocupa el Rascacielos de la Friedrichstrasse dentro de la historia de la arquitectura moderna nunca ha sido seriamente cuestionado, la opinion critica al respecto siempre ha estado dividida. Desde la publicacion de la monografia de Philip Johnson sobre Mies en 1947, el muro cortina como una piel transparente que reviste el esqueleto estructural has ido aclamado como un gran avance pionero. Otros puntos de vista sobre el edificio, subrayando su supuesta planta expresionista, lo han visto como un esfuerzo un poco menos aventurado. Asi calibrada, la propuesta de Mies para la Friedrichstrasse es radicalmente moderna en mas de un sentido enfatizado por Johnson.” 1 W.Tegethoff ABSTRACT This essay reflects on the broad territory of the image in today’s architecture. One good example is the Friedrichstrasse Skyscraper design by Mies van der Rohe in 1921/22, during the period between World Wars I and II. There are many reasons why this work has been chosen, but one of the most recent stands out above the rest: of the hundreds of essays written on this work, comments have been made only (with the odd exception) on the objectual characteristics of what has been directly described by the views (as if it were a genuine reflection of reality), without analysing the real physical and symbolic nature of the representation a subjective (spatial) expression of architecture. If its importance as a point of inflection in the initial development of a completely modern work is more than enough reason to make a detailed study, since it may be crucial for understanding the author’s beginnings in the Modern Movement. Its presence as a reduced set of four views, the combination of a photograph of the place and a drawing made of it, in our opinion, carry meanings that are as important for understanding this architecture as all the ideas described about them. Created during an early period, when the languages of photography and cinema were in full swing, it can be said that the perspectives of the Friedrichstrasse Skyscraper form a historical reference of one of the first virtual architectures that belong entirely to the Modern Movement. A paradigm of the most absolute modernity owing to the fact that it is on that frontier of the never-accomplished, but spatially assumable as photographic reality, the images of the skyscraper can be considered as one of the first reflections on the virtual nature of post-industrial architectural design. There is nothing new in the fact that the photographic description of work absorbs and communicates on its own the multiple properties it involves and there is nothing new in the fact that most architectures become known today through the media. It is surprising that no analysis has been made to date, with the same intensity, of the many reasons that led to a number of images whose poetry add form to the architecture they represent. If the intention is to reflect on this contemporary fact using a paradigmatic example certified by history, we will be forced to use a methodology that corresponds to the dual condition produced by the interpretation of all media images as a fluctuating combination of what is interpreted independently through the representation and meanings the image acquires as a historical reference. This ambivalent interpretation will lead this essay to be structured in two clearly different and complementary blocks that follow the reading order offered by any image of architecture in the media. Thus, a first part, titled The image of an architecture, analyses the interpretation history and the author have given to the skyscraper through its use in the various exhibitions, magazines, style agreements and monographs in which it has been included. This examination, which is the real space in which these architectures reside, is (to delimit and organise the study) restricted to countries in which the author lived during his lifetime and it will help establish a first narrative that considers the different interpretations made by critics over time. The presence of the first skyscraper next to the second one in the publication the architect makes early on in Frühlicht will require the second solution to be incorporated as another part of the study. Laden with necessary quotes by the various personalities who have examined said designs, this first historiographical analysis establishes an initial state of the question that reveals an ambivalent interpretation of skyscrapers. If the direct interpretation of the images has made it possible to closely examine the characteristics of the glass and its reflections and the nudity of a metal structure as clear examples of a modern and technological expression of glass and steel. The particular triangular shapes of the former and the sinuous shapes of the latter have generated many classifications that suggest it is an example of Expressionism, Dadaism or Constructivism, which have grown over time into artistic admiration laden with poetry. This historical reading, which concludes with a more recent short period that begins to question the utopian character and recovers its nature as a project, will finally consider a number of doubts that have no apparent answer and require a revision of the reading of the images as part of what they actually are: expression of a new architecture that becomes part of the Modern Movement as from that precise moment. In addition, the existence in the architect’s subsequent discourse of a formalisation process highly valued by the author and the equal presence of a place in the representations and plans of a skyscraper history seems to have forgotten, will stand as more than sufficient reason for a revision of initial relations with the avantgarde -not particularly well defined today- together with a renewed reading of said vertical proposals for what they also are: projects that respond to the special needs of a very specific place and time. This second part, titled The architecture of an image, is presented more as a total immersion in the project world than a mere nominal description of it. Deliberately symmetrical and opposite to a historic first bloc, this second part (much longer and central part of the thesis) it will focus on analysing images as: the set of historical events that affected the skyscraper, city, place and technical processes image to provide these architectures with their raison d’être. Consequently, the aim is to delve in the reasons which, hidden as a formalisation process, led Mies to move on to a new form of doing, seeing and thinking his architecture, of expressing a space. The approach to these images will therefore lie in highlighting the nature of a number of representations whose photographic features are the true reflection of a period in which the new visual media (cinema and photography) begin to be questioned due to excessive use. The complexity of facts that coincide in time will require this study to be divided into a first general approach, with a response given by most of the participants in the competition, to compare the importance of a common approach in terms of project and context of the response given by Mies and his colleagues. A combination of requirements and needs of the very history of the plot of land, the peculiarities of a place and the programmatic requirements of the competition; the next step will reconstruct the formalisation process of the set of drawings that characterise both to understand the mechanism which, suspended like translations between the different representations, operates in the realisation of said images and complements as thought their architectural idea. The aim is thus to offer two things: an interpretation that takes into account the new way in which the architect works with photography, together with the particular idiosyncrasy of the moment at which they occur. In other words, the approach will focus on the views of the first skyscraper, which takes into account the technological and visual history that surrounds the event and the characteristics of a physical execution that still remains unexplained in full. The subsequent discovery of a number of geometrical incoherences in the floor plans, elevations and views of the first project will lead to an argument for the presence of trompe l’oeil which, never before revealed, is seen as laden with completely avant-garde spatial intentions. Architectural interpretation of the images where the presence of a number of elements directly linked to the languages of photography and cinema is translated into a new spatial reading that is completely dynamic and full of dislocation, rhythm and simultaneity far-removed from the idea of seeing shape as a permanently fixed element. This suggestion takes us to directly to the second skyscraper design as a clear continuation of what he imagined in the first. To end, after a preliminary biographical revision (previous to the project) that reveals urban concerns and a desire for change before the Friedrichstrasse competition, a comparison is made of these new spatial meanings with avant-garde practice which, contemporary with the 1921 competition, show very similar investigations with the same cinematographic interest. The reading of the proposals of three artists close to the architect at that time -i.e. Hans Richter, Moholy-Nagy and El Lissitzky- reveals concerns that are very similar to what Mies achieved with the skyscrapers that seem to have been used as an example and mutual motivation for the creation of a new (more fluent) spatiality. This interpretation will make it possible to recover the importance of these two projects as the direct expression of a new way of thinking and doing his architecture that was to remain fixed in Mies’ work. This also gives rise to the possibility of recovering the poetic potential of views which, as defined repeatedly by the critics, now stand as the direct transmitters of the desire for architectural change shown in later projects. A rationalisation of poetry which, by going beyond the directly transcribed form, gives rise to the establishment of one general final reflection on how the image works in architecture, together with the critical relevance of this design for today’s virtual world. In short, beyond the evocative power of images this will be a study which questions the characteristics the image of architecture can propose beyond its literality through the fascinating interaction between the image and spatially imagined. Encounters, resources and interests of a completely architectural response that, besides sheds light to a change that is as non-classifiable as it is modern, shows the way to the interpretation of a formalisation process which, repeatedly defined by the author, justifies a poetic intensity and confirms an artistic concern often denied by the author. In other words, examining the architectural, historical and technical reasons that led Mies to create his skyscrapers, thanks to its relationship with the avant-garde and cinema, sheds light on and explains the change taking place in the architect with regard to a new fluent spatiality. Reflecting on the spatial nature -of these iconic images- is tantamount to a critical reflection on the symbolic nature of architecture today. “Although the key position of the Friedrichstrasse Office Building within the early history of modern architecture has never been seriously challenged, critical opinion on it has always been divided. Ever since the publication of Philip Johnson’s monograph on Mies in 1947, the curtain wall as a transparent skin sheathing the skeleton structure has frequently been hailed as a pioneering breakthrough. Other views of the building, stressing its supposedly Expressionist plan, have seen it as a somewhat less adventurous effort. In fact, the project has never been regarded in abroad context. Thus measured, Mies’s proposal fro Friedrichstrasse is radically modern in more than the one respect emphasized by Johnson.” 1 W.Tegethoff

Anastigmatic imaging with unconstrained object to image mapping

Anastigmatic imaging of an object to an image surfaces without the point-to-point mapping prescription and using a single optical surface is analyzed in 2D and 3D geometries (free-form and rotational-symmetric). Several design techniques are shown.

Image processing methods for human brain connectivity analysis from in-vivo diffusion MRI

The structural connectivity of the brain is considered to encode species-wise and subject-wise patterns that will unlock large areas of understanding of the human brain. Currently, diffusion MRI of the living brain enables to map the microstructure of tissue, allowing to track the pathways of fiber bundles connecting the cortical regions across the brain. These bundles are summarized in a network representation called connectome that is analyzed using graph theory. The extraction of the connectome from diffusion MRI requires a large processing flow including image enhancement, reconstruction, segmentation, registration, diffusion tracking, etc. Although a concerted effort has been devoted to the definition of standard pipelines for the connectome extraction, it is still crucial to define quality assessment protocols of these workflows. The definition of quality control protocols is hindered by the complexity of the pipelines under test and the absolute lack of gold-standards for diffusion MRI data. Here we characterize the impact on structural connectivity workflows of the geometrical deformation typically shown by diffusion MRI data due to the inhomogeneity of magnetic susceptibility across the imaged object. We propose an evaluation framework to compare the existing methodologies to correct for these artifacts including whole-brain realistic phantoms. Additionally, we design and implement an image segmentation and registration method to avoid performing the correction task and to enable processing in the native space of diffusion data. We release PySDCev, an evaluation framework for the quality control of connectivity pipelines, specialized in the study of susceptibility-derived distortions. In this context, we propose Diffantom, a whole-brain phantom that provides a solution to the lack of gold-standard data. The three correction methodologies under comparison performed reasonably, and it is difficult to determine which method is more advisable. We demonstrate that susceptibility-derived correction is necessary to increase the sensitivity of connectivity pipelines, at the cost of specificity. Finally, with the registration and segmentation tool called regseg we demonstrate how the problem of susceptibility-derived distortion can be overcome allowing data to be used in their original coordinates. This is crucial to increase the sensitivity of the whole pipeline without any loss in specificity.