Evolution of automatic visual description techniques-a methodological survey

Author(s):  
Arka Bhowmik ◽  
Sanjay Kumar ◽  
Neeraj Bhat
Keyword(s):  
Author(s):  
Henrik Sinding-Larsen

Henrik Sinding-Larsen analyzes how new tools for the visual description of sound revolutionized the way music was conceived, performed, and disseminated. Early on, the ancient Greeks had described pitches and intervals in mathematically precise ways. However, their complex system had few consequences until it was combined with the practical minds of Roman Catholic choirmasters around 1000 ce. Now, melodies became depicted as note-heads on lines with precise pitch meanings and with note names based on octaves. This graphical and conceptual externalization of patterns in sound paved the way for a polyphonic complexity unimaginable in a purely oral/aural tradition. However, this higher complexity also entailed strictly standardized/homogenized scales and less room for improvisation in much of notation-based music. Through the concept of externalization, lessons from the history of musical notation are generalized to other tools of description, and Sinding-Larsen ends with a reflection on what future practices might become imaginable and unimaginable as a result of computer programming.


2018 ◽  
Vol 52 (2) ◽  
pp. 390-417
Author(s):  
ELISABETH ENGEL

This article traces and analyzes the missionary photography of the African Methodist Episcopal Church (AME), the most important independent black American institution that began to operate in colonial South Africa at the onset of the politics of racial segregation in the 1890s. It argues that AME missionary photography presents a neglected archive, from which a history of black photographic encounters and a subaltern perspective on the dominant visual cultures of European imperialism and Christian missions in Africa can be retrieved. Focussing in particular on how AME missionaries deployed tropes of the culturally refined “New Negro” and the US South in their visual description of South Africa, this article demonstrates that photography was an important tool for black subjects to define their image beyond the representations of black inferiority that established visual traditions constructed.


2020 ◽  
Author(s):  
Abigail Jimenez

Chemistry is usually seen as a difficult subject for secondary school students. One topic they struggle is when they face chemistry formulation for the first time. The concept of oxidation number is difficult for them. The level of abstraction required is still developing in their minds. We must help them visualise it, to understand bonding and, finally, the symbolic representation of chemical compounds.We find in chemistry a visual description for bond formation: Lewis diagrams. They explicitly show molecular bonds as paired electrons. By using this simple idea, we can introduce formulation to secondary school students. Starting with binary chemical compounds, included in 3rd year of secondary schools in Spain, we can set up the foundations for their future chemistry studies. Of course, the difficulty must be progressively introduced.In this work, we show how a visual method based on Lewis diagrams improves the performance of students when writing formulae of binary chemical compounds. One important difference with current literature on how Lewis dot structures are used in education, is that, while they are usually presented as a learning goal, here we use them as a means to an end.Our results suggest that the improvement is higher for students with previous lower academic performance, low scores in linguistic competencies, and high scores in visual and artistic competencies. Most importantly, it does not worsen performance for students with high scores in linguistic competencies and low scores in visual and artistic competencies. Mathematical competencies do not seem to be so good predictors for students’ performance.Finally, within the Cognitive Load Theory framework, we show how cognitive working load, as well as an approximation of extraneous cognitive load, can be estimated by using information theory measures involving the mistakes students make.


2008 ◽  
Vol 78 (2) ◽  
pp. 128-137 ◽  
Author(s):  
C.A. Wilson ◽  
P.H. Gies ◽  
B.E. Niven ◽  
A. McLennan ◽  
N.K. Bevin

1979 ◽  
Vol 9 (3) ◽  
pp. 287-291 ◽  
Author(s):  
Robert Cury

Authors of technical papers have many visual/graphic aids available to them. The most common are: grid graphs, tables, bar charts, flow charts, maps, pie diagrams, and drawings and sketches. Grid graphs are used to show relationships. Tables allow the reader to make comparisons of data. The bar chart is another form of the grid graph and is used for the same purpose. A flow chart gives the reader a visual description of a process. Maps show the location of specific features. Pie diagrams show the proportional breakdown of a topic. Pictures and sketches show the reader exactly what is being talked about in the report. Visual/graphic aids allow the technical writer to condense and present his information in an aesthetically pleasing manner; in addition, these aids serve as psychological white space.


Ramus ◽  
2011 ◽  
Vol 40 (2) ◽  
pp. 87-105 ◽  
Author(s):  
S.J. Harden

Moschus' Europa has long been recognised to be a highly visual and pictorial poem. It is also dominated by an erotic theme: the sexual awakening of the maiden Europa and her love affair with Zeus. This article will focus on a connection between erotic theme and highly visual narrative that has received attention in relation to Greek texts from the Roman Empire, but none in relation to Moschus. The sophisticated and self-conscious use of vision and ekphrasis in erotic narrative which has been traced in authors such as Achilles Tatius (in particular by Goldhill) is anticipated, I shall argue, in Moschus' Hellenistic poem. The work done on this theme in Achilles Tatius provides a useful framework for analysing Moschus' treatment of vision and desire and as such, I will refer to the work of Goldhill and Morales where it illuminates my approach to Moschus.The Europa displays a striking combination of erotic theme and ekphrastic style: Moschus uses the motifs and techniques of ekphrasis to explore the erotic gaze, whereby the process of viewing a desirable object becomes the ‘action’ of the plot and ekphrasis transcends its normally digressive or embedded position within the structure of the text and appropriates the very narrative function of the poem. In terms of its visuality and exploration of visual themes, Moschus' Europa differs from Achilles Tatius and from the poetry of his own contemporaries such as the Argonautica, for although other poets often explore similar themes of vision and desire, the form and structure of Moschus' poem set his treatment apart. The Europa is a short poem of 166 lines and it is dominated by visual description: firstly by the ekphrasis of the basket and then by three extended descriptive scenes which, as I argue below, should also be treated as ekphraseis.


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