An Inexpensive Alternative to CS Photoshop & Bridge: Archival Master Image Capture and Batch Derivative Creation in Canon Scan Gear & Adobe Photoshop Elements 7

This presentation was made at the Connecticut State Library Service Center, Willimantic, CT, April 14, 2009. It focused on digital capture workflows for both archival and derivative image creation using accepted current standards. Tools used were inexpensive by choice and focused towards the needs of small to mid-sized cultural heritage institutions who wish to begin digital capture in their own facilities.

Knowmore (House of Commons)

Knowmore (House of Commons) is a large scale generative interactive installation that incorporates embodied interaction, dynamic image creation, new furniture forms, touch sensitivity, innovative collaborative processes and multichannel generative sound creation. A large circular table spun by hand and a computer-controlled video projection falls on its top, creating an uncanny blend of physical object and virtual media. Participants’ presence around the table and how they touch it is registered, allowing up to five people to collaboratively ‘play’ this deeply immersive audiovisual work. Set within an ecological context, the work subtly asks what kind of resources and knowledges might be necessary to move us past simply knowing what needs to be changed to instead actually embodying that change, whilst hinting at other deeply relational ways of understanding and knowing the world. The work has successfully operated in two high traffic public environments, generating a subtle form of interactivity that allows different people to interact at different paces and speeds and with differing intentions, each contributing towards dramatic public outcomes. The research field involved developing new interaction and engagement strategies for eco-political media arts practice. The context was the creation of improved embodied, performative and improvisational experiences for participants; further informed by ‘Sustainment’ theory. The central question was, what ontological shifts may be necessary to better envision and align our everyday life choices in ways that respect that which is shared by all - 'The Commons'. The methodology was primarily practice-led and in concert with underlying theories. The work’s knowledge contribution was to question how new media interactive experience and embodied interaction might prompt participants to reflect upon the kind of resources and knowledges required to move past simply knowing what needs to be changed to instead actually embodying that change. This was achieved through focusing on the power of embodied learning implied by the works' strongly physical interface (i.e. the spinning of a full size table) in concert with the complex field of layered imagery and sound. The work was commissioned by the State Library of Queensland and Queensland Artworkers Alliance and significantly funded by The Australia Council for the Arts, Arts Queensland, QUT, RMIT Centre for Animation and Interactive Media and industry partners E2E Visuals. After premiering for 3 months at the State Library of Queensland it was curated into the significant ‘Mediations Biennial of Modern Art’ in Poznan, Poland. The work formed the basis of two papers, was reviewed in Realtime (90), was overviewed at Subtle Technologies (2010) in Toronto and shortlisted for ISEA 2011 Istanbul and included in the edited book/catalogue ‘Art in Spite of Economics’, a collaboration between Leonardo/ISAST (MIT Press); Goldsmiths, University of London; ISEA International; and Sabanci University, Istanbul.

The understanding of avatar design : various types and styles of avatars and the design considerations

People have adopted various formats of media such as graphics, photo and text (nickname) in order to represent themselves when communicate with others online. Avatar is known as a visual form representing a user oneself and one's identity wished. Its form can vary from a two-dimensional model to a three-dimensional model, and can be visualised with various visual forms and styles. In general, two-dimensional images including an animated image are used in online forum communities and live chat software; while three-dimensional models are often used in computer games. Avatar design is often regarded as a graphic designer's visual image creation or a user's output based on one's personal preference, yet it often causes the avatar design having no consideration of its practical visual design and users' interactive communication experience aspects. This paper will review various types and styles of avatar and discuss about avatar design from visual design and online user experience perspectives. It aims to raise a design discourse in avatar design and build up a well-articulated set of design principles for effective avatar design.

Cutting on action : interference strategies in contemporary art practice

The domestication of creative software and hardware has been a significant factor in the recent proliferation of still and moving image creation. Booming numbers of amateur image-makers have the resources, skills and ambitions to create and distribute their work on a mass scale. At the same time, contemporary art seems increasingly dominated by ‘post-medium’ practices that adopt and adapt the representational techniques of mass culture, rather than overtly reject or oppose them. As a consequence of this network of forces, the field of image and video production is no longer the exclusive specialty of art and the mass media, and art may no longer be the most prominent watchdog of mass image culture. Intuitively and intentionally, contemporary artists are responding to these shifting conditions. From the position of a creative practitioner and researcher, this paper examines the strategies that contemporary artists use to engage with the changing relationships between image culture, lived experience and artistic practice. By examining the intersections between W.J.T. Mitchell’s detailed understanding of visual literacy and Jacques Derrida’s philosophical models of reading and writing, I identify ‘editing’ as a broad methodology that describes how practitioners creatively and critically engage with the field of still and moving images. My contention is that by emphasising the intersections of looking and making, ‘reading’ and ‘writing’, artists provide crucial jump cuts, pauses and distortions in the medley of our mediated experiences.

Establishing design thinking : accident, program frameworks and personal practices

Distribution through electronic media provides an avenue for promotion, recognition and an outlet of display for graphic designers. The emergence of available media technologies have enabled graphic designers to extend these boundaries of their practice. In this context the designer is constantly striving for aesthetic success and is strongly influenced by the fashion and trends of contemporary design work. The designer is always in a state of inquiry, finding pathways of discovery that lead to innovation and originality that are highly valued criteria for self-evaluation. This research is based on an analysis of the designer perspective and the processes used within an active graphic design practice specializing entirely within a digital collage domain. Contemporary design methodologies were critically examined, compared and refined to reflect the self-practice of the researcher. The refined methodology may assist designers in maintaining systematic work practices, as well as promote the importance of exploration and experimentation processes. Research findings indicate some differences in the identified methodologies and the design practice of the researcher in the sense that many contemporary designers are not confined to a client-base but are self-generating design images influenced by contemporary practitioners. As well as confirming some aspects of more conventional design processes, the researcher found that accidental discoveries and the designer’s interaction with technology plays a significant part in the design process.

Parallel Monte Carlo approach for integration of the rendering equation

This paper is addressed to the numerical solving of the rendering equation in realistic image creation. The rendering equation is integral equation describing the light propagation in a scene accordingly to a given illumination model. The used illumination model determines the kernel of the equation under consideration. Nowadays, widely used are the Monte Carlo methods for solving the rendering equation in order to create photorealistic images. In this work we consider the Monte Carlo solving of the rendering equation in the context of the parallel sampling scheme for hemisphere. Our aim is to apply this sampling scheme to stratified Monte Carlo integration method for parallel solving of the rendering equation. The domain for integration of the rendering equation is a hemisphere. We divide the hemispherical domain into a number of equal sub-domains of orthogonal spherical triangles. This domain partitioning allows to solve the rendering equation in parallel. It is known that the Neumann series represent the solution of the integral equation as a infinity sum of integrals. We approximate this sum with a desired truncation error (systematic error) receiving the fixed number of iteration. Then the rendering equation is solved iteratively using Monte Carlo approach. At each iteration we solve multi-dimensional integrals using uniform hemisphere partitioning scheme. An estimate of the rate of convergence is obtained using the stratified Monte Carlo method. This domain partitioning allows easy parallel realization and leads to convergence improvement of the Monte Carlo method. The high performance and Grid computing of the corresponding Monte Carlo scheme are discussed.

A new solution of the rendering equation with stratified Monte Carlo approach

This paper is turned to the advanced Monte Carlo methods for realistic image creation. It offers a new stratified approach for solving the rendering equation. We consider the numerical solution of the rendering equation by separation of integration domain. The hemispherical integration domain is symmetrically separated into 16 parts. First 9 sub-domains are equal size of orthogonal spherical triangles. They are symmetric each to other and grouped with a common vertex around the normal vector to the surface. The hemispherical integration domain is completed with more 8 sub-domains of equal size spherical quadrangles, also symmetric each to other. All sub-domains have fixed vertices and computable parameters. The bijections of unit square into an orthogonal spherical triangle and into a spherical quadrangle are derived and used to generate sampling points. Then, the symmetric sampling scheme is applied to generate the sampling points distributed over the hemispherical integration domain. The necessary transformations are made and the stratified Monte Carlo estimator is presented. The rate of convergence is obtained and one can see that the algorithm is of super-convergent type.

Representing images using curvilinear feature driven subdivision surfaces.

This paper presents a subdivision-based vector graphics for image representation and creation. The graphics representation is a subdivision surface defined by a triangular mesh augmented with color attribute at vertices and feature attribute at edges. Special cubic B-splines are proposed to describe curvilinear features of an image. New subdivision rules are then designed accordingly, which are applied to the mesh and the color attribute to define the spatial distribution and piecewise-smoothly varying colors of the image. A sharpness factor is introduced to control the color transition across the curvilinear edges. In addition, an automatic algorithm is developed to convert a raster image into such a vector graphics representation. The algorithm first detects the curvilinear features of the image, then constructs a triangulation based on the curvilinear edges and feature attributes, and finally iteratively optimizes the vertex color attributes and updates the triangulation. Compared with existing vector-based image representations, the proposed representation and algorithm have the following advantages in addition to the common merits (such as editability and scalability): 1) they allow flexible mesh topology and handle images or objects with complicated boundaries or features effectively; 2) they are able to faithfully reconstruct curvilinear features, especially in modeling subtle shading effects around feature curves; and 3) they offer a simple way for the user to create images in a freehand style. The effectiveness of the proposed method has been demonstrated in experiments.

A study on the lateralization of the effect of musical imagery on spontaneous otoacoustic emissions

It has been suggested that different pathways through the brain are followed depending on the type of information that is being processed. Although it is now known that there is a continuous exchange of information through both hemispheres, language is considered to be processed by the left hemisphere, where Broca?s and Wernicke?s areas are located. On the other hand, music is thought to be processed mainly by the right hemisphere. According to Sininger Y.S. & Cone- Wesson, B. (2004), there is a similar but contralateral specialization of the human ears; due to the fact that auditory pathways cross-over at the brainstem. A previous study showed an effect of musical imagery on spontaneous otoacoustic emissions (SOAEs) (Perez-Acosta and Ramos-Amezquita, 2006), providing evidence of an efferent influence from the auditory cortex on the basilar membrane. Based on these results, the present work is a comparative study between left and right ears of a population of eight musicians that presented SOAEs. A familiar musical tune was chosen, and the subjects were trained in the task of evoking it after having heard it. Samples of ear-canal signals were obtained and processed in order to extract frequency and amplitude data on the SOAEs. This procedure was carried out before, during and after the musical image creation task. Results were then analyzed to compare the difference between SOAE responses of left and right ears. A clear asymmetrical SOAEs response to musical imagery tasks between left and right ears was obtained. Significant changes of SOAE amplitude related to musical imagery tasks were only observed on the right ear of the subjects. These results may suggest a predominant left hemisphere activity related to a melodic image creation task.

A imagem do destino turístico como ferramenta de diferenciação e promoção do turismo Caso de Barra Grande/PI – Brasil

O presente trabalho analisa a importância da imagem do destino turístico na Praia de Barra Grande, localizada em Cajueiro da Praia/PI-Brasil. De acordo com o que se analisou na percepção dos turistas, foi possível observar como é entendida essa imagem formada pelos turistas, os resultados e os fatores correspondentes que contribuíram para essa formação da imagem. Este tema, que serve de ferramenta de diferenciação e promoção do turismo, além de intervir no processo de seleção, é fundamental para a instigação do consumidor a visitar o destino. Desse modo, como o produto turístico é intangível, fica comprovado, por meios de descrições e imagens, o quão importante é a criação da imagem (imaginária), e o que se fazer mediante ao uso de estratégias de marketing para se conseguir atingir seu público alvo. Dessa forma, os resultados foram significantes, o que deu importância e valor para a imagem do destino estudado.

O rasto, o indício, o vestígio, como fontes de criação artística

Dissertação de Mestrado, Comunicação, Cultura e Artes, Especialização em Estudos de Imagem, Faculdade de Ciências Humanas e Sociais, Universidade do Algarve, 2016

Brand image co-creation and individual identity extension in online environments: a Facebook investigation

In this thesis I investigate the extent to which companies can build a more communal environment out of their fan pages while also evaluating the corresponding brand value that may come from having such a communal environment. My research is comprised in three articles: in the first article, I describe how the brand image is created or augmented in the fan page environment, therefore providing demonstrable evidence of value creation. In the second article, I describe how individuals use fan page semiotic elements to communicate their identities. Finally, in the third article, I describe the possible communal characteristics of a fan page and the conditions that enable it to evolve to the virtual brand community concept. As a result, I will contribute to the marketing literature on the use of Facebook for communicating brand identity, on the co-creation of the brand image in social media context, and on the conceptual definition of fan pages as a communal environment.

Mesh-based vs. Image-based Statistical Appearance Model of the Human Femur: a Preliminary Comparison Study for the Creation of Finite Element Meshes

Statistical models have been recently introduced in computational orthopaedics to investigate the bone mechanical properties across several populations. A fundamental aspect for the construction of statistical models concerns the establishment of accurate anatomical correspondences among the objects of the training dataset. Various methods have been proposed to solve this problem such as mesh morphing or image registration algorithms. The objective of this study is to compare a mesh-based and an image-based statistical appearance model approaches for the creation of nite element(FE) meshes. A computer tomography (CT) dataset of 157 human left femurs was used for the comparison. For each approach, 30 finite element meshes were generated with the models. The quality of the obtained FE meshes was evaluated in terms of volume, size and shape of the elements. Results showed that the quality of the meshes obtained with the image-based approach was higher than the quality of the mesh-based approach. Future studies are required to evaluate the impact of this finding on the final mechanical simulations.

Image Processing Challenges in the Creation of Spatiotemporal Gene Expression Atlases of Developing Embryos

To properly understand and model animal embryogenesis it is crucial to obtain detailed measurements, both in time and space, about their gene expression domains and cell dynamics. Such challenge has been confronted in recent years by a surge of atlases which integrate a statistically relevant number of different individuals to get robust, complete information about their spatiotemporal locations of gene patterns. This paper will discuss the fundamental image analysis strategies required to build such models and the most common problems found along the way. We also discuss the main challenges and future goals in the field.