Automatic mass segmentation in mammographic images

Aquesta tesi està emmarcada dins la detecció precoç de masses, un dels símptomes més clars del càncer de mama, en imatges mamogràfiques. Primerament, s'ha fet un anàlisi extensiu dels diferents mètodes de la literatura, concloent que aquests mètodes són dependents de diferent paràmetres: el tamany i la forma de la massa i la densitat de la mama. Així, l'objectiu de la tesi és analitzar, dissenyar i implementar un mètode de detecció robust i independent d'aquests tres paràmetres. Per a tal fi, s'ha construït un patró deformable de la massa a partir de l'anàlisi de masses reals i, a continuació, aquest model és buscat en les imatges seguint un esquema probabilístic, obtenint una sèrie de regions sospitoses. Fent servir l'anàlisi 2DPCA, s'ha construït un algorisme capaç de discernir aquestes regions són realment una massa o no. La densitat de la mama és un paràmetre que s'introdueix de forma natural dins l'algorisme.

Women in art: the last taboo

The intention of this paper is to explore traditions and current trends in art with particular reference to the depiction of female experiences such as pregnancy, abortion, birth and motherhood. The inclusion and exclusion of such images in art history over time and across societies reflects prevailing attitudes, whilst affirming various stereotypical and gendered constructions developed and sustained within those societies. These constructions in turn relate to criteria defined by class, access to education and notions of femininity. Work by artists which feature aspects of these experiences (particularly childbirth), is considered taboo by many in a Western society which continues to render the essentially female experience as private, invisible and stigmitised and confuses the natural with the sexual. The work of undergraduate art students, inspired by the artwork of women artists who make explicit or are influenced by essentially female experiences, is discussed and attempts made to connect their work to the issues outlined.

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.

Catalog of Paintings Exhibited in the Colby College Art Museum May 8 -22- 1974

This catalog describes paintings by the author, completed as his Senior Scholar Project in art and exhibited in the Colby College Art Museum. Images of the paintings are not available.

Beyond the analogon; the "transfer of the referent" : the relationship between the external world experienced through culturally generated perceptual models constructed in the human mind, and the transfer of these images, via visual language, onto referen

Within 20th. Century art, the concept of the ‘normative’ image, as an attribute of things, has been challenged. As a consequence, paintings must now picture the ‘real’ world in other ways, incorporating knowledge and meaning beyond the analogon. Such descriptive representations were revealed as paradigmatic, rather than incontrovertible fact. Dependent on pre-conceived notions of stereotypicality, these descriptive images relied on surface illumination. My thesis explores images of things in the world as culturally inspired and information based. I examine paintings and sculptures of other cultures, such as black African, and other historical periods such as the Medieval, which reveal metonymously the basis for variations in representations of the ‘real’ world. The new enhanced representations which Modern artists created in their work were denigrated as deviant from the absolute ‘normative’ or regarded as distortions for purely mannerist and stylistic reasons. Postmodern research has reassessed them as multiple or extended imagings in whose facture new knowledge and human responses can be incorporated. These new forms of representation can be regarded as theoretical constructs rather than stylised depictions of appearance. In this way referents are transferred through the mind onto objects and vistas in the real world to align with our developed view of the physical world and better our understanding of humanity’s symbiotic relationship with nature.

Visual narratives in the children's picture story book : an investigation of the extent to which the formal structuring of a visual narrative retrieves a pastiche of past experiences and images which in turn shapes and redirects the story

Throughout this research, the notion that illustrators of children's books embark on two types of activity has been reinforced at every turn. On one hand the artist acknowledges the external world by organising images of actions and events in the contexts of place and time. This process involves bringing ideas into a physical form and demands the structuring of characters, settings, and story development. Planning and decisions are informed by imperatives that recognise the need for conventions of articulation and communication to a particular target audience. These then become a mayor priority of bookmaking and are constantly impacted on by publishers1 demands and ethical constraints. The other perspective sees the illustrator as expresser where the core of visual narratives for children celebrates the potency of imagination. Here dreams, fantasies, memories and the unconscious become the conduits to shaping sequential images. The artist is engaged not simply in visually telling a story, but rather telling facets of his or her own story. This exegesis traces the evolution of my own picture story book Eddie's Fantastic Fortnight published by Five Mile Press Publishers in tandem with the insights and reflections of five of Australia's most prominent illustrators. It examines whether the structure invested in a visual narrative liberates expressive response, ascribing to the premise that bookmaking plays an informing role to imagination. Equally it adopts the alternative position which asserts that the essence of children's books is indeed fantasy, memory and dreams. This proposition views imagination and inspiration as the primary catalyst around which illustrators build their narrative. In the often lengthy processes of bookmaking, these considerations constantly shift. I have attempted to explore and reveal these mobile and ever changing priorities, not only in my own work, but also through leading exponents in the field.

Women's silence : in the space of words and images

My thesis is made up of words and images. This study investigates the way in which silence operates productively within and between the two modes of communication. I suggest that in the process of changing words into images or scripto-visual art-practice, the silence in women's lives can be articulated. I argue that women draw on the generative qualities of silence to create forms of speech that override the cultural constructions of gender which have placed them within the space of ‘mute’ silence. To gain an historical perspective of this practice by women, I consider the lives of medieval nuns within religious enclosure and their work with words and images in the illuminated manuscript. I make a comparative study of original illuminated manuscripts, focussing mainly on visual language and locating aspects of the work closest to my own art-practice: the visual treatment of the space and inter-textual components of the page or folio. This project does not include an examination of miniatures or historiated initials. Rather, its aim is to identify and compare the use of other aesthetic devices available to the medieval scribe/artist through which they might have interacted with the text. I suggest links between verbal and visual performances of language and the repetition, or copying of texts by medieval nuns, as a means of female embodiment of words and their spaces. From the outcomes of my studio investigations and my consideration of other contemporary feminist art practices, I demonstrate how women artists may ‘re-write’ the text and ‘speak’ their silence through visual language and the acts of writing, drawing and painting the words of others. Through my engagement with feminist critical theory, the work of medieval scholars, original illuminated manuscripts and my studio research, I propose that scripto-visual practice remains particularly significant for women despite the differences between the medieval period and our own. As a generative practice, it negotiates some of the societal constraints on women's speech and visibility, because its language is ‘silent and disembodied’ from the image of woman constructed by male discourse. It is a form of speech that acknowledges as it defies the social and cultural conditions that shaped its necessity, articulating an alternative voice of women in the space of words and images.

Traces from the astrolabe: art and astronomy

This portfolio represent an ongoing investigation into relationships between art and astronomy with particular reference to photographic imaging of the cosmos and how such imaging has influenced the mapping and modelling of the universe. I am also interested in the subjective interpretation of astronomical observations and the point at which such images fail to represent, ie, the blurred image, which may represent the limits of technology as well and opening the possibility for metaphorical readings and imaginings on the part of the observer.

Picture words : toward an art-critical methodology

“Phiction: Lies, Illusion and the Phantasm in Australian Photography” is a curatorial experiment in assembling a survey exhibition from a significant collection. Its formulation, presentation and the outcomes of its tour of eleven regional and metropolitan Victorian galleries provide a case study for this paper. The exhibition Phiction (the title amalgamates photography and fiction) challenges audiences’ reading of photographs, and confronts some curatorial assumptions, by juxtaposing the images with extracts of Australian fiction instead of the usual gallery fact sheet, list of provenance or expert gloss. In this way the exhibition forces a confrontation between ‘dumb’ image and ‘blind’ text and while examples are examined, a review of the exhibition is not the purpose of this paper. A consideration its process and effect is discussed in the paper to propose a comparative tool in the study, investigation and evaluation of art. It is offered to visual art school researchers, lecturers and students contemplating the most appropriate and effective, or alternative, methodologies to employ. With reference to the dominant systems of critique which have come to us from other disciplines, the paper considers the art practitioner’s perspective by drawing on the example of Phiction to pose the open question; “How might we use one artform to explore another?”.

Immersive interfaces for art education teaching and learning in mixed reality virtual and real world environments

Selected ubiquitous technologies encourage collaborative participation between higher education students and educators within a virtual socially networked e-learning landscape. Multiple modes of teaching and learning, ranging from real world experiences, to text and digital images accessed within the Deakin Studies Online learning management system and a constructed virtual world in which the user’s creative imagination transports them to the “other side” of their computer screens is discussed in this paper. These constructed environments support interaction between communities of learners and enable multiple simultaneous participants to access graphically built 3D environments, interact with digital artifacts and various functional tools and represent themselves through avatars, to communicate with other participants and engage in collaborative art learning. A narrative interpretative research approach was used to profile the 21st century higher education student learner, to investigate the lived experience and multiple art learning perspectives documented in student visual journal entries and art educator observations to ascertain if an e-technology rich augmented learning environment resulted in the establishment of more effective e-learning communities of practice.

Magával ragadó interfészek Art Education tanítás és tanulás vegyes valóság virtuális és valós környezetben

How selected next generation technologies support collaborative participation between higher education students and educators within a virtual socially networked e-learning landscape and encourage the interaction of communities of learners in multiple modes, ranging from text and images accessed within the Deakin Studies Online learning management system to a constructed virtual world in which the user’s creative imagination transports them to the “other side” of their computer screens is discussed in this paper. These constructed environments enable multiple simultaneous participants to access graphically built 3D environments, interact with digital artifacts and various functional tools and represent themselves through avatars, to communicate with other participants and engage in collaborative art learning.

Immersive interfaces for art education teaching and learning in virtual and real world learning environments

Immersive interfaces for art education teaching and learning in virtual and real world learning environments

Selected ubiquitous technologies encourage collaborative participation between higher education students and educators within a virtual socially networked e-learning landscape. Multiple modes of teaching and learning, ranging from real world experiences, to text and digital images accessed within the Deakin Studies Online learning management system and a constructed virtual world in which the user's creative imagination transports them to the “other side” of their computer screens is discussed in this paper. These constructed environments support interaction between communities of learners and enable multiple simultaneous participants to access graphically built 3D environments, interact with digital artifacts and various functional tools and represent themselves through avatars, to communicate with other participants and engage in collaborative art learning. A narrative interpretative research approach was used to profile the 21st century higher education student learner, to investigate the lived experience and multiple art learning perspectives documented in student visual journal entries and art educator observations to ascertain if an e-technology rich augmented learning environment resulted in the establishment of more effective e-learning communities of practice.

David Bowie: dancing with madness and proselytising the socio-political in art and life

A longstanding, successful and frequently controversial career spanning more than four decades establishes David Bowie as charged with individual agency. The notion of ‘agency’ here refers particularly to the ‘ability of people, individually and collectively to influence their own lives and the society in which they live’ (Germov and Poole, 2007: 7). That Bowie has influenced many lives is undeniable to his fans. He has long demonstrated an avid curiosity for the enduring patterns of social life which is reflected in his art. Bowie’s opus contains the elements of ideological narratives around sexual (mis)adventure, expressivity, and; resistance to ‘normative’ behaviour. He requisitions his audiences, through frequently indirect lyrics and images, to critically question sanity, identity and essentially what it means to be ‘us’ and why we are here. Here, in this context, ‘dancing with madness’ assumes an intimate relationship, even if brief, where ideas and emotions come passionately together for the purpose of creative expression much like the intertwining and energetic performance of the partner dance Tango. As such, ‘dancing’ is argued here to be an appropriate descriptor for how Bowie has engaged with creative cultural forms but not meant to be self-conscious nor indicate superficiality or ignorance. The idea of madness for its part is a theme in many of his compositions, for example the original album cover for The Man Who Sold the World (1971)  depicts an asylum and includes the song ‘All The Madmen’ and Aladdin Sane (1973)—a lad insane--are but two examples. This paper argues that Bowie’s frequently astute contemplations, manifest through his art over a period now spanning more than forty years, continues to draw fans of like mind to his work with the result that he has a legitimate claim to influence and affect.

Becoming an artist: life histories and visual images

Chapter summary:
In this chapter, we consider the experiences of an art/research experiment that took place in the context of the annual conference of the British Sociaological Association (BSA), held at the University of East London in April 2007. The essay is in four parts: in the first section, the researcher gives the context of the project that underpinned the BSA event, mapping its theoretical directions and methodological moves. In the second section, the artist tells stories of becoming through words and images. The force of the artist’s narrative challenges and reconfigures discursively constructed boundaries between the researcher and the artist, initiating a dialogic encounter that unfolds in the third section as a visual/textual interface. This encounter revolves around the quest for meaning, which is after all what oral history is about (Portelli, 2011). Our quest for meaning actually inspired us to write about and problematize the BSA event. In this light, the final section looks critically into some of the questions that have arisen, situating them within wider problematics in the field of oral histories and narrative research.

Book summary:
Interviews are becoming an increasingly dominant research method in art, craft, design, fashion and textile history. This groundbreaking text demonstrates how artists, writers and historians deploy interviews as creative practice, as 'history', and as a means to insights into the micro-practices of arts production and identity that contribute to questions of 'voice', authenticity, and authorship. Through a wide range of case studies from international scholars and practitioners across a variety of fields, the volume maps how oral history interviews contribute to a relational practice that is creative, rigorous and ethically grounded.