Progressive 3D reconstruction of infrastructure with videogrammetry

A number of methods are commonly used today to collect infrastructure's spatial data (time-of-flight, visual triangulation, etc.). However, current practice lacks a solution that is accurate, automatic, and cost-efficient at the same time. This paper presents a videogrammetric framework for acquiring spatial data of infrastructure which holds the promise to address this limitation. It uses a calibrated set of low-cost high resolution video cameras that is progressively traversed around the scene and aims to produce a dense 3D point cloud which is updated in each frame. It allows for progressive reconstruction as opposed to point-and-shoot followed by point cloud stitching. The feasibility of the framework is studied in this paper. Required steps through this process are presented and the unique challenges of each step are identified. Results specific to each step are also presented.

Progressive Site Modelling with Videogrammetry

A number of methods are commonly used today to collect as-built spatial data (time-of-flight, visual triangulation, etc.). However, current practice lacks a solution that is accurate, automatic and cost-efficient at the same time. LiDARmethods generate high resolution depth information, but the significant cost of the equipment counteracts their benefits for the majority of construction projects. This is true especially for small projects, where projected savings hardly justify adopting this technology. Vision-based technologies, such as videogrammetry, is potentially able to address the existing limitations.

Supporting the case for “progressive universalism” in health visiting: Scottish mothers and health visitors’ perspectives on targeting and rationing health visiting services, with a focus on the Lothian Child Concern Model.

Aims. To explore parents and professionals’ experience of family assessment in health visiting (public health nursing), with a focus on the Lothian Child Concern Model (LCCM). Background. Health visitors (HVs) currently assess families as requiring core, additional or intensive support, and offer support at a corresponding level. The majority of families are assessed as core and receive no pro-active support beyond the early days. Previous assessment tools, consisting of checklists, have been criticised as being ineffective in identifying a range of health needs and unacceptable to parents and HVs. The LCCM model was developed and introduced in the study area to promote a partnership approach with parents and assess strengths as well as difficulties in parents’ capacity to care for their child. Methods. Qualitative methods were used. Ten mothers and twelve HVs took part in individual semi-structured interviews. Results. Most mothers were aware of the assessment process but some felt that they were not involved in the decision making process. Explaining the assessment process to parents is problematic and not all HVs do so. The assessment process was stressful for some mothers. HVs find the model useful for structuring and documenting the assessment process. Many believe that most families benefit from some support, using public health approaches. Families are often assessed as core because there are insufficient resources to support all those who meet the criteria of the additional category, and managers assess caseloads in terms of families with child protection concerns. Conclusions. The study findings support the concept of “progressive universalism” which provides a continuum of intensity of support to families, depending on need. Mothers would like better partnership working with HVs. Relevance to clinical practice. The study endorses proposed policy changes to re-establish the public health role of HVs and to lower the threshold for families to qualify for support.

The aesthetics of he eyes and mouth position in a three-point face schema

Oculographical research of people watching a human face indicates than beholder's eyes stop most often and for the longest period of time on the eyes and the mouth of the face looked at and that they move among these three points most frequently. The position of the eyes and mouth in relation to one another can be described with a single number being a measure of an angle with the vertex in the middle of the mouth and with arms crossing the centers of the eye pupils. The angles were measured from photographs of people from all over the world, as well as of residents of Lublin. Subsequently, the subjects from Lublin were asked to make face schemas by positioning the eyes and the mouth in the way they considered most attractive. The eye-mouth-eye angle of these schemas was measured. Additionally, measurements of the same angle were taken from the faces depicted in icons. The schemas of the most attractive - according to the subjects - faces were characterized by angles approximating the mean angle from the photographs, and significantly greater than the mean angle from the icons.

Revisão bibliográfica

Projeto de Pós-Graduação/Dissertação apresentado à Universidade Fernando Pessoa como parte dos requisitos para obtenção do grau de Mestre em Medicina Dentária

Locating the transnational: representations and aesthetics of the city in contemporary European cinemas

This thesis focuses on two Western European cinematic cities, and two unique periods of their respective nations’ histories, in a bid to “locate” the transnational within a contemporary European milieu. I argue that my geo-cinematic case studies are emblematic of broader questions of the problematics of national identity in contemporary Europe in the face of cross-national flows yet, as a result of their representations as cities both “anchored” and “in flux”, they reject a European postnational identity. Through its engagement with cinematic Rome as the “Eternal City” of Europe and cinematic Dublin as the “newly Europeanised” city, my thesis traces how representations and aesthetics of the urban spaces of these two cities correspond with the tensions at the heart of the respective eras in question. Via the figures that inhabit it, navigate it and search for it, the city is utilised to highlight fixity and mobility, centrality and dislocation, in explicit and implicit ways, amid the rapidly changing landscape of its national terrain. It is through my analyses of the filmed places and sociopolitical, socioeconomic and sociocultural spaces of these capital cities under the rubric of the transnational that this research demonstrates the “pluralities” of the construct in its cinematic manifestations. It is also my aim to evaluate the concept of cinematic transnationalism when identifying and accounting for representations of a specific national, historical timeframe, when the momentousness of the changes that occur is not bound by the national, but rather is reflective of the influence of both domestic and external forces. To this end, my thesis draws attention to instances in which the nation is shown to persist and resist dilution, arguing that it is only against the backdrop and continuity of the nation (in its evershifting guises) that the transnational can be conceived in representative and aesthetic terms.

Afro-Cuban Bata Drum Aesthetics: Developing Individual and Group Technique, Sound and Identity

The Lucumi religion (also Santeria and Regla de Ocha) developed in 19th-century colonial Cuba, by syncretizing elements of Catholicism with the Yoruba worship of orisha. When fully initiated, santeros (priests) actively participate in religious ceremonies by periodically being possessed or "mounted" by a patron saint or orisha, usually within the context of a drumming ritual, known as a toque de santo, bembe, or tambor. Within these rituals, there is a clearly defined goal of trance possession, though its manifestation is not the sole measure of success or failure. Rather than focusing on the fleeting, exciting moments that immediately precede the arrival of an orisha in the form of a possession trance, this thesis investigates the entire four- to six-hour musical performance that is central to the ceremony. It examines the brief pauses, the moments of reduced intensity, the slow but deliberate build-ups of energy and excitement, and even the periods when novices are invited to perform the sacred bata drums, and places these moments on an equal footing with the more dynamic periods where possession is imminent or in progress. This document approaches Lucumi ritual from the viewpoint of bata drummers, ritual specialists who, during the course of a toque de santo, exercise wide latitude in determining the shape of the event. Known as omo Ana (children of the orisha Ana who is manifest in drums and rhythms), bata drummers comprise a fraternity that is accessible only through ritual initiation. Though they are sensitive to the desires of the many participants during a toque de santo, and indeed make their living by satisfying the expectations of their hosts, many of the drummers' activities are inwardly focused on the cultivation and preservation of this fraternity. Occasionally interfering with spirit possession, and other expectations of the participants, these aberrant activities include teaching and learning, developing group identity or signature sound, and achieving a state of intimacy among the musicians known as "communitas."

The Aesthetics of Motion in Musics for the Mevlana Celal ed-Din Rumi

This dissertation investigates the concept of motion as a fundamental aesthetic element in the devotional music, dance, and rituals performed in honor of the celebrated thirteenth-century Persian mystic poet and saint, the Mevlana Celal ed-Din Muhammad Rumi. The main focus of the study is threefold. First, it investigates the prevalence of the notion of movement in Islamic music and culture, specifically within the Sufi communities of Turkey, in order to arrive at a broader understanding of the relationship between music, aesthetics, and worldview. Secondly, it explores how musical performance functions as a form of devotion or religious worship by focusing on the musical repertories performed in honor of a single holy figure, the Mevlana Rumi. Finally, it provides an ethnographic account of contemporary developments in Sufi musical culture in Turkey and across the world by describing the recent activities of the Mevlana's devotees, which includes members of the Mevlevi Order of Islamic mystics as well as adherents of other Sufi brotherhoods and followers of so-called New Religions or New Age. The primary research for this study involved two short one-month field trips to Turkey and India in 2002 and 2003, respectively, and a longer one year expedition to Turkey in 2004 and 2005, which also included shorter stays in Cyprus, Syria, and Egypt. Additionally, the dissertation draws directly from critical theories advanced in the fields of ethnomusicology, cultural anthropology, and ethnochoreology and focuses on the kinesthetic parameters of music, dance, trance, and ritual as well as on broader forms of socio-cultural movement including pilgrimage, cultural tourism, and globalization. These forms of movement are analyzed in four broad categories of music used in worship, including classical Mevlevi music, music of the zikr ceremony, popular musics, and non-Turkish musics.