Salience-Preserving Image Composition with Luminance Consistency

2006 ◽  
pp. 308-316
Author(s):  
Zhenlong Du ◽  
Xueying Qin ◽  
Wei Hua ◽  
Hujun Bao
Keyword(s):  
Image Composition

Foregrounding Expectation: Spatial Sound-image Composition in Virtual Environments

2017 ◽  
Vol 7 (2) ◽  
pp. 95-110
Author(s):  
Angela McArthur ◽  
Stefano Kalonaris
Keyword(s):  
Virtual Environments ◽  
Image Composition ◽  
Sound Image ◽  
Spatial Sound

Salient object segmentation for image composition: A case study of group dinner photo

2020 ◽  
Author(s):  
Tianxiang Ren ◽  
Lianhui Lin ◽  
Shihui Guo ◽  
Juncong Lin ◽  
Minghong Liao ◽  
...  
Keyword(s):  
Object Segmentation ◽  
Salient Object ◽  
Image Composition ◽  
Salient Object Segmentation

Pandito Khambo-lama’s gifts in the Kunstkamera

2019 ◽  
Author(s):  
Дмитрий Владимирович Иванов
Keyword(s):  
18Th Century ◽  
Image Composition ◽  
Artistic Style ◽  
Russian Academy Of Sciences ◽  
Exact Date ◽  
History Of ◽  
Academy Of Sciences ◽  
Made In

Еще в 2009 г. удалось выявить в фонде Музея антропологии и этнографии (Кунсткамеры) РАН ряд буддийских экспонатов Кунсткамеры XVIII в. Письма Миллера к Лубсан-тайше и ламе Дзоржия, опубликованные А.Х. Элертом, консультация XXIV Пандито Хамбо-ламы Аюшеева и инструкции Миллера переводчику Илье Яхонтову, хранящиеся в Санкт-Петербургском филиале архива АН, позволили прояснить точную дату приобретения артефактов и имя первособирателя Дамба-Даржа (Даржай) Заяева, ставшего в 1764 г. I Пандито Хамбо-ламой. Автор статьи определил особенности художественного стиля, получившие дальнейшее развитие в бурятской живописи. Проведены параллели в композиции, стиле, характерных деталях изображения со скульптурой, выполненной в долоннорском стиле. Также описан еще один предмет коллекции небольшая буддийская танка, подаренная в 1783 г. Академии наук III Пандито Хамбо-ламой Лубсан-Жимба Ахалдаевым. Статья рассказывает об истории этой танки, а также ее стилистических особенностях, колорите, деталях изображения, композиции. Back in 2009, it was possible to identify a number of Buddhist exhibits of the 18th century Kunstkamera at the fund of the Museum of Anthropology and Ethnography (Kunstkamera) of the Russian Academy of Sciences. Mllers letters to Lubsan Taisha and Lama Dzorzhia published by A.Kh. Elert, consultation of the XXIV Pandito Khambo-Lama Ayusheev and Mllers instructions to the translator Ilya Yakhontov, stored in the St. Petersburg branch of the Academy of Sciencess archive made it possible to clarify the exact date of acquisition of the artifacts and the name of the first selector Damba-Darzha (Darzhai) Zayaev, who became I Pandito Khambo-lama in 1764. The author of the article identified the features of the artistic style that were further developed in Buryat painting. He saw parallels in composition, style, characteristic details of the image with a sculpture made in the Dolonnor style. Another collection item is also described a small Buddhist icon, donated to the Academy of Sciences by III Pandito Khambo-Lama Lubsan-Zhimba Akhaldaev in 1783. The article tells about the history of this Thangka, as well as its stylistic features, color, details of the image, composition.

Image forgery detection confronts image composition

2017 ◽  
Vol 68 ◽  
pp. 152-163 ◽  
Author(s):  
Victor Schetinger ◽  
Massimo Iuliani ◽  
Alessandro Piva ◽  
Manuel M. Oliveira
Keyword(s):  
Forgery Detection ◽  
Image Composition ◽  
Image Forgery ◽  
Image Forgery Detection

Image composition for two-piece DRD cans

1999 ◽  
Vol 86 (1-3) ◽  
pp. 264-270
Author(s):  
Y.P. Huang
Keyword(s):  
Image Composition

Visual Performativity of Violence: Power and Retaliatory Humiliation in Islamic State (is) Beheading Videos Between 2014 and 2017

2020 ◽  
pp. 123-147
Author(s):  
Michael Krona
Keyword(s):  
Group Identity ◽  
Visual Analysis ◽  
Layered Media ◽  
Islamic State ◽  
Theoretical Discussion ◽  
Hybrid Warfare ◽  
Media Campaigns ◽  
Image Composition ◽  
Visual Propaganda

The significance of visual propaganda in war has never been as debated as since the Islamic State (IS) started gaining global attention for its sophisticated media campaigns in 2014. Although IS propaganda contains several narratives, the videos of beheadings have for years been at the centre of attention. This graphic violence involves deliberate choices in terms of image composition, lighting, camera-angles, and overall editing techniques deployed to reach maximum effects its targeted audiences. These videos are not only evidence of tactical choices in hybrid warfare, but also mediated communicative artefacts. This chapter aims to dissect this mediation of performative violence: the visualization of beheadings as multi-layered media artefacts, produced with the dual objective to incite fear among adversaries and strengthen the in-group identity of the organization. How videos of IS beheadings are designed is crucial to understand the role of visual propaganda in IS contemporary warfare. The chapter is based on qualitative visual analysis of beheading videos produced by IS official media wings between 2014 and 2017 with particular focus on image composition and sequencing, contextualized through a theoretical discussion about how power and retaliatory humiliation are constructed through the visual performativity of violence.

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