Marr's vision: twenty-five years on

It is twenty-five years since the posthumous publication of David Marr's book Vision [1]. Only 35 years old when he died, Man, had already dramatically influenced vision research. His book, and the series of papers that preceded it, have had a lasting impact on the way that researchers approach human and computer vision.

Metaphors are good mirrors: reflecting on change for teacher educators

In this paper we discuss the use of metaphor as an educative tool for reflection. In the instance of this paper we use metaphor to reflect on the personal images of change that were used by some women teacher educators to make sense of their professional lives and practices over the last decade. This last decade in teacher education has seen significant institutional and cultural change. The paper discusses the strengths and limitations of the use of metaphor. The different interpretations of these metaphors illustrates how these women have used metaphor for explaining facets of change in their professional lives. The challenge of professional renewal is apparent in the metaphors in the ways that complexity, change, journeys, and movement are indicated. Reflection on change in professional practice needs to be continuous. Use of metaphor in the way described in this paper encourages that ongoing process.

Urban growth centres on the periphery : ad hoc policy vision and research neglect

The focus of this paper is peripheral urban growth centres on the edges of capital cities in Australia and the challenges they face as dormitory suburbs attempting to establish their own local business development. These challenges create dilemmas as infrastructure and climate change place pressure on long commuting times, while developing strong locally based communities is limited by many resource and demand constraints. The main research question is to examine how these challenges are being addressed in both public policy and academic research. Two propositions emerge from this analysis. The first is that, despite clear recognition of these challenges by public policy makers, there is a lack of coherent policy vision in addressing the dilemmas that are facing these urban growth centres. The second is that, despite all the concerns and lack of policy vision, there is a dearth of useful academic research in Australia to understand the dilemmas and provide guidance for appropriate policy options. In the context of ad hoc policy and academic neglect; Casey, Melton and Wyndham are the three major urban peripheral local government areas in Victoria that are profiled in this paper. They serve as examples in examining incoherence of policy and then analysing the elements that are needed for effective and strong peripheral growth centres that could propel these centres towards efficient and equitable liveable communities. A broad composite model of regional economic development is used to examine the attendant problems in these urban centres and the various viable policy options for addressing these problems. In the process, this paper aims to provide a basis for further rigorous academic investigation of peripheral urban growth centres in Australia and, arising from this, more coherent policies for the economic development of such centres.

Feminist poetics : symbolism in an emblematic journey reflecting self and vision

My thesis tilled Feminist Poetics: Symbolism in an Emblematic Journey Reflecting Self and Vision, consists of thirty oil paintings on canvas, several preparatory sketches and drawings in different media on paper, and is supported and elucidated by an exegesis. The paintings on unframed canvases reveal mise en scčnes and emblems that present to the viewer a drama about links between identities, differences, relationships and vision. Images of my daughter, friends and myself fill single canvases, suites of paintings, diptyches and triptychs. The impetus behind my research derives from my recognition of the cultural means by which women's experience is excluded from a representational norm or ideal. I use time-honoured devices, such as, illusionist imagery, aspects of portraiture, complex fractured atmospheric space, paintings and drawings within paintings, mirrors and reflective surfaces, shadows and architectural devices. They structure my compositions in a way that envelops the viewer in my internal world of ideas. Some of these features function symbolically, as emblems. A small part of the imagery relies on verisimilitude, such as my hands and their shadow and my single observing eye enclosed by my glasses. What remains is a fantasy world, ‘seen’ by the image of my other eye, or ‘faction’, based on memories and texts explaining the significance of ancient Minoan symbols. In my paintings, I base the subjects of this fantasy on my memories of the Knossos Labyrinth and matristic symbols, such as the pillar, snake, blood, eye and horn. They suggest the presence of a ritual where initiates descended into the adyton (holy of holies) or sunken areas in the labyrinth. The paintings attempt a ‘rewriting’ of sacrality and gender by adopting the symbolism of death, transformation and resurrection in the adyton. The significance of my emblematic imagery is that it constructs a foundation narrative about vision and insight. I sought symbolic attributes shared by European oil painting and Minoan antiquity. Both traditions share symbolic attributes with male dying gods in Greek myths and Medusa plays a central part in this linkage. I argue that her attributes seem identical to both those of the dying gods and Minoan goddesses. In the Minoan context these symbols suggest metaphors for the female body and the mother and daughter blood line. When the symbols align with the beheaded Medusa in a patriarchal context, both her image and her attributes represent cautionary tales about female sexuality that have repercussions for aspects of vision. In Renaissance and Baroque oil painting Medusa's image served as a vehicle for an allegory that personified the triumph of reason over the senses. In the twentieth century, the vagina dentata suggests her image, a personified image of irrational emotion that some male Surrealists celebrated as a muse. She is implicated in the male gaze as a site of castration and her representation suggests a symbolic form pertaining to perspective. Medusa's image, its negative sexual and violent connotations, seemed like a keystone linking iconographic codes in European oil painting to Minoan antiquity. I fused aspects of matristic Minoan antiquity with elements of European oil paintings in the form of disguised attribute gestures, objects and architectural environments. I selected three paintings, Dürer's Setf-Portrait, 1500, Gentileschi's Self-Portrait as the Allegory of Painting, 1630 and Velazquez's Las Meniruis, 1656 as models because 1 detected echoes of Minoan symbolism in the attributes of their subjects and backgrounds. My revision of Medusa's image by connecting it to Minoan antiquity established a feminist means of representation in the largely male-dominated tradition of oil painting. These paintings also suggested painting techniques that were useful to me. Through my representations of my emblematic journey I questioned the narrow focus placed on phallic symbols when I explored how their meanings may have been formed within a matricentric culture. I retained the key symbols of the patriarchal foundation narratives about vision but removed images of violence and their link to desire and replaced it with a ritual form of symbolic death. I challenged the binary oppositional defined Self as opposed to Other by constructing a complex, fluid Self that interacts with others. A multi-directional gaze between subjects, viewers and artist replaces the male gaze. Different qualities of paint, coagulation and random flow form a blood symbolism. Many layers of paint retaining some aspects of the Gaze and Glance, fuse and separate intermittently to construct and define form. The sense of motion and fluidity constructs a form of multi-faceted selves. The supporting document, the exegesis is in two parts. In the first part, I discuss the Minoan sources of my iconography and the symbolic gender specific meanings suggested by particular symbols and their changed meanings in European oil painting, I explain how I integrate Minoan symbols into European oil paintings as a form of disguised symbolism. In the second part I explain how my alternative use of symbolism and paint alludes to a feminist poetic.

Monocular vision and increased distance reducing the effects of visual manipulation on body sway

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Is your vision consistent? A method for checking, based on scenario concepts

Common sense tells us that the future is an essential element in any strategy. In addition, there is a good deal of literature on scenario planning, which is an important tool in considering the future in terms of strategy. However, in many organizations there is serious resistance to the development of scenarios, and they are not broadly implemented by companies. But even organizations that do not rely heavily on the development of scenarios do, in fact, construct visions to guide their strategies. But it might be asked, what happens when this vision is not consistent with the future? To address this problem, the present article proposes a method for checking the content and consistency of an organization's vision of the future, no matter how it was conceived. The proposed method is grounded on theoretical concepts from the field of future studies, which are described in this article. This study was motivated by the search for developing new ways of improving and using scenario techniques as a method for making strategic decisions. The method was then tested on a company in the field of information technology in order to check its operational feasibility. The test showed that the proposed method is, in fact, operationally feasible and was capable of analyzing the vision of the company being studied, indicating both its shortcomings and points of inconsistency. (C) 2007 Elsevier Ltd. All rights reserved.

A computer vision approach to quantify leaf anatomical plasticity: A case study on gochnatia polymorpha (less.) cabrera

Inferences about leaf anatomical characteristics had largely been made by manually measuring diverse leaf regions, such as cuticle, epidermis and parenchyma to evaluate differences caused by environmental variables. Here we tested an approach for data acquisition and analysis in ecological quantitative leaf anatomy studies based on computer vision and pattern recognition methods. A case study was conducted on Gochnatia polymorpha (Less.) Cabrera (Asteraceae), a Neotropical savanna tree species that has high phenotypic plasticity. We obtained digital images of cross-sections of its leaves developed under different light conditions (sun vs. shade), different seasons (dry vs. wet) and in different soil types (oxysoil vs. hydromorphic soil), and analyzed several visual attributes, such as color, texture and tissues thickness in a perpendicular plane from microscopic images. The experimental results demonstrated that computational analysis is capable of distinguishing anatomical alterations in microscope images obtained from individuals growing in different environmental conditions. The methods presented here offer an alternative way to determine leaf anatomical differences. © 2013 Elsevier B.V.

Machine vision and planning applied on assembby line of multiple products

This article describes the use of Artificial Intelligence (IA) techniques applied in cells of a manufacturing system. Machine Vision was used to identify pieces and their positions of two different products to be assembled in the same productive line. This information is given as input for an IA planner embedded in the manufacturing system. Therefore, initial and final states are sent automatically to the planner capable to generate assembly plans for a robotic cell, in real time.