The Construction of the Image of Peace in Ancient Greece : A few literary and Iconographic Evidences

El presente artículo busca identificar y analizar algunas de los principales tratamientos poéticos y artísticos del binomio paz / riqueza en una perspectiva diacrónica y comparativa, intentando aislar las más frecuentes imágenes, metáforas y epítetos relacionados con ese tema. El estudio de los pasajes elegidos deja claro cómo ambos, poetas y artistas plásticos, conocían y manipulaban con su arte un mismo patrimonio bastante antiguo

The Construction of the Image of Peace in Ancient Greece : A few literary and Iconographic Evidences

El presente artículo busca identificar y analizar algunas de los principales tratamientos poéticos y artísticos del binomio paz / riqueza en una perspectiva diacrónica y comparativa, intentando aislar las más frecuentes imágenes, metáforas y epítetos relacionados con ese tema. El estudio de los pasajes elegidos deja claro cómo ambos, poetas y artistas plásticos, conocían y manipulaban con su arte un mismo patrimonio bastante antiguo

The Construction of the Image of Peace in Ancient Greece : A few literary and Iconographic Evidences

El presente artículo busca identificar y analizar algunas de los principales tratamientos poéticos y artísticos del binomio paz / riqueza en una perspectiva diacrónica y comparativa, intentando aislar las más frecuentes imágenes, metáforas y epítetos relacionados con ese tema. El estudio de los pasajes elegidos deja claro cómo ambos, poetas y artistas plásticos, conocían y manipulaban con su arte un mismo patrimonio bastante antiguo

Multimodal and monomodal discourses of marketization in higher education : power, ideology, and the absence of the image

The ubiquity of multimodality in hypermedia environments is undeniable. Bezemer and Kress (2008) have argued that writing has been displaced by image as the central mode for representation. Given the current technical affordances of digital technology and user-friendly interfaces that enable the ease of multimodal design, the conspicuous absence of images in certain domains of cyberspace is deserving of critical analysis. In this presentation, I examine the politics of discourses implicit within hypertextual spaces, drawing textual examples from a higher education website. I critically examine the role of writing and other modes of production used in what Fairclough (1993) refers to as discourses of marketisation in higher education, tracing four pervasive discourses of teaching and learning in the current economy: i) materialization, ii) personalization, iii) technologisation, and iv) commodification (Fairclough, 1999). Each of these arguments is supported by the critical analysis of multimodal texts. The first is a podcast highlighting the new architectonic features of a university learning space. The second is a podcast and transcript of a university Open Day interview with prospective students. The third is a time-lapse video showing the construction of a new science and engineering precinct. These three multimodal texts contrast a final web-based text that exhibits a predominance of writing and the powerful absence or silencing of the image. I connect the weightiness of words and the function of monomodality in the commodification of discourses, and its resistance to the multimodal affordances of web-based technologies, and how this is used to establish particular sets of subject positions and ideologies through which readers are constrained to occupy. Applying principles of critical language study by theorists that include Fairclough, Kress, Lemke, and others whose semiotic analysis of texts focuses on the connections between language, power, and ideology, I demonstrate how the denial of image and the privileging of written words in the multimodality of cyberspace is an ideological effect to accentuate the dominance of the institution.

The Anxiety of the Image

Kear, A. (2005). The Anxiety of the Image. Parallax, 11 (3), 107-116. RAE2008

How many times can the same image change? The history of the image in Murujuga

In this paper, I will analyze the history of the image in Murujuga, located in Western Australia, through three stages: creation, preservation and destruction. I will argue that each stage is linked to a turning point in the history of Australia. The first stage is linked to the Dreamtime, a time where Aboriginal cosmology sets the origin of the world. The second stage is linked to the arrival of the white settlers and colonialist practices, where surprisingly the images were neither appropriated nor destroyed, but neglected. The third stage is linked to destruction, where the Aboriginal images from Murujuga does not find a place, and instead are excluded from the multicultural frame of heritage, that Australia boasts. The conclusion will give me the opportunity to discuss how these changes have affected the meaning and perception of these specific images (Aboriginal rock art), by contesting the concept of heritage.

The image of the Hungarian and UK building industries : a comparative analysis

Concern that poor image of UK construction industry is restricting recruitment has lead to call for action. This paper gives the results of a recent comparative analysis of the image of both UK and Hungarian industries which indicates the UK image to be relatively good. The perceived cause of Hungarian problems is the poor level of organisation and management.

Absolute measurement of roughness and lateral-correlation length of random surfaces by use of the simplified model of image-speckle contrast

We present a method of image-speckle contrast for the nonprecalibration measurement of the root-mean-square roughness and the lateral-correlation length of random surfaces with Gaussian correlation. We use the simplified model of the speckle fields produced by the weak scattering object in the theoretical analysis. The explicit mathematical relation shows that the saturation value of the image-speckle contrast at a large aperture radius determines the roughness, while the variation of the contrast with the aperture radius determines the lateral-correlation length. In the experimental performance, we specially fabricate the random surface samples with Gaussian correlation. The square of the image-speckle contrast is measured versus the radius of the aperture in the 4f system, and the roughness and the lateral-correlation length are extracted by fitting the theoretical result to the experimental data. Comparison of the measurement with that by an atomic force microscope shows our method has a satisfying accuracy. (C) 2002 Optical Society of America.

Microstructural analysis of non-woven fabrics using scanning electron microscopy and image processing. Part 1:Development and verification of the methods

This paper reports image analysis methods that have been developed to study the microstructural changes of non-wovens made by the hydroentanglement process. The validity of the image processing techniques has been ascertained by applying them to test images with known properties. The parameters in preprocessing of the scanning electron microscope (SEM) images used in image processing have been tested and optimized. The fibre orientation distribution is estimated using fast Fourier transform (FFT) and Hough transform (HT) methods. The results obtained using these two methods are in good agreement. The HT method is more demanding in computational time compared with the Fourier transform (FT) method. However, the advantage of the HT method is that the actual orientation of the lines can be concluded directly from the result of the transform without the need for any further computation. The distribution of the length of the straight fibre segments of the fabrics is evaluated by the HT method. The effect of curl of the fibres on the result of this evaluation is shown.

Voyage(s) to Sarajevo: Jean-Luc Godard and the Image of War

This essay discusses Jean-Luc Godard’s artistic response to the Bosnian War (1992-95), and its representations in the Western mass media. For Godard, the reluctance of Europe’s advanced liberal democracies to intervene meaningfully in Bosnia – their insistence that 'humanitarianism' rather than protective intervention was the order of the day – was tantamount to supporting Serbian fascism, and – a fortiori – regressing to a policy of appeasement reminiscent of the days of the Munich Agreement. Although Godard's stance set him against some of his former compatriots on the left, speculating on his ideological motivations is beside the point. Rather, it is is in his filmmaking, in his vision of cinema, and how it relates to other histories of the image, that Godard’s sensibility can be most keenly felt and understood. As the essay points out, even his recent contribution to Jean-Michel Frodon's compilation film, Bridges of Sarajevo/Les ponts de Sarajevo (2014, 114 mn.), persists in posing questions about how the past continues to shape the present, and how Sarajevo and its contemporary history still delineates the identity of Europe. 

Scaled Heavy-Ball Acceleration of the Richardson-Lucy Algorithm for 3D Microscopy Image Restoration

The Richardson–Lucy algorithm is one of the most important in image deconvolution. However, a drawback is its slow convergence. A significant acceleration was obtained using the technique proposed by Biggs and Andrews (BA), which is implemented in the deconvlucy function of the image processing MATLAB toolbox. The BA method was developed heuristically with no proof of convergence. In this paper, we introduce the heavy-ball (H-B) method for Poisson data optimization and extend it to a scaled H-B method, which includes the BA method as a special case. The method has a proof of the convergence rateof O(K^2), where k is the number of iterations. We demonstrate the superior convergence performance, by a speedup factor off ive, of the scaled H-B method on both synthetic and real 3D images.

The "Image" of the Pharaoh in Judahite and Israelite Society According to the Glyptic Evidence

Among the many thousand scarabs, scaraboids and other stamp-seal amulets unearthed in Iron Age contexts in Cis- and Transjordan, there are many such seals showing royal Egyptian imagery on their bases. Focusing mainly on Pharaonic motifs, the paper aims to catalogue the principal iconemes, to trace their development throughout the Iron Ages and to extrapolate their significance vis-à-vis the contemporary glyptic assemblages. As will be shown, the royal imagery of the Egyptian king underwent considerable changes during pre-monarchic and monarchic times in Israel/Judah. This allows – to some extent – deducing the perception of the ‘image’ of the Egyptian king in this part of the Southern Levant at the close of the second and during the first centuries of the first millennium BCE. While the local seal production not only vividly copied earlier and contemporary Egyptian prototypes, it also developed idiosyncratic ‘Pharaonic’ motifs that were produced for the local market. On the other hand, imported Egyptian glyptic goods – such as scarabs and other amulet types – reveal further facets of the consumer behavior. They, too, shed light upon the ideological and religious preferences of the local population and illuminate the development of the vernacular attitude towards the Pharaonic symbols of power – including their obvious political and sacred connotations.