DEVELOPING STUDENTS 'CREATIVE ABILITIES THROUGH TEACHING "LANDSCAPE COLOR PICTURE" IN HIGHER EDUCATION SYSTEM

Ушбу илмий мақола «Тасвирий санъат ва муҳандислик графикаси» таълим йоъналиши талабалари ва оъқитувчилари учун моължалланган боълиб, унда тасвирий санъат манзара жанрида боъёқда ишлашнинг мақсад ва вазифалари, тасвирий санъатни оъқитишнинг педагогик маҳорати каби масалалар оъз аксини топган.

Examining the Difference Between Image Size, Background Color, Gray Picture and Color Picture in Leave Classification with Deep Learning

In academic studies, there are many factors that change depending on the changes in the parameters of the process, such as the processing time, the required processing power, as well as the success. In the methods used for classification, recognition, and detection, the changes in the data received as input may affect the result, as well as the variables specific to the methods used. Convolutional neural networks, whose use is increasing day by day in processes such as classification and recognition using images, learn and classify the characteristics of data sets in different image sizes, including color, gray or black and white images, with filters and functions on the layers in the model. Many different parameters such as layers in the created model and filters and functions in these layers can be changed. As a result of these changes, the most suitable number of layers, the optimum values for the parameters and functions in these layers are determined for the data set used. There are studies focused on optimizing many different structures, such as reproducing the images in the used data set or determining the best by testing different parameters in the classification method. In this study, while the changes were made in the leaf images with a fixed background in the determined leaf data set, the model used in leaf classification with convolutional neural network was kept constant. It is aimed to examine the pictures used for 3 different image sizes, the gray picture or color picture difference and the changes caused by the background color.

Notorious, The Paradine Case, Rope, Under Capricorn, Stage Fright

Still in Ingrid Bergman’s thrall, Hitchcock made one of his most romantic pictures for her, Notorious (1946), in which she and Cary Grant work out many of the contrasts and tensions in their screen personas. Hitchcock was stymied by casting decisions not his own on The Paradine Case (1947), which was the last film he made for producer David O. Selznick, and then he foundered on miscasting again when James Stewart was given the central role of a queer academic in Rope (1948), his first color picture. Hitchcock made Under Capricorn (1949) as a valentine to Ingrid Bergman, allowing her to dominate an eight minute and forty-seven second take where her character confesses to a crime, a rare instance of acting for its own sake in Hitchcock’s work. Though Marlene Dietrich was superficially in the mode of the liberated women that Hitchcock enjoyed like Carole Lombard and Tallulah Bankhead, the Master was mainly bemused by Dietrich’s demands for special lighting in Stage Fright (1950), and so he lets her have her way as he lets Charles Laughton dominate Jamaica Inn.

PHRASEOLOGISMS WITH THE WORD "BLACK" IN RUSSIAN AND MARIAN LANGUAGES

The color picture of the world, in our opinion, is included in the cultural and conceptual picture of the world. The distribution of a particular color in the culture, household items, costumes, and works of art of a people depended on their customs, traditions, religious beliefs, and aesthetic norms. The linguistic color worldview is realized in the form of color meanings in separate lexemes, phrases, idiomatic expressions and other verbal means.it is organically included in the lexical system of the language worldview. The article discusses the use of features chloronema black in phraseology of Russian and Mari languages. Based on the analysis of the estimated values of phraseological units with the black component, a conclusion is made about the General negative attitude to this color in the axiological picture of the world of speakers of the studied languages.

THE CIMMERIAN CHRONOTOPE OF K. PAUSTOVSKY’S PROSE: COLOR REPRESENTATION

In the article, based on the K. G. Paustovsky’s Crimean text, the writer’s coloristic representation of Eastern Crimea, Cimmeria is established. The idea is considered to be topical in view of the task to reconstruct the writer’s color picture of the world. The author of the paper reveals the color spectrum used by K. G. Paustovsky, explains its uniqueness, compares the color code of K. G. Paustovsky and M. A. Voloshin in Cimmerian space visualization; describes the functional potential of color terms which is explicated in Cimmeria color chronotope development; reveals the regularities of K. G. Paustovsky’s color style of writing.

Nazwy barw w opisach przyrody nieożywionej (na materiale opowiadań Aleksandra Grina)

The analysis of color names provides valuable information about the models of perception, association and interpretation models of the world presented in a literary work. The main porpuose of his paper is to reconstruct a fragment of the color picture of the world of the outstanding Russian writer Aleksander Grin. The subject of analysis are the names of colors used by the novel’s author to describe inanimate nature objects, which can be divided into three classes: 1) surface water, 2) surface and rocky ground, 3) air and weather phenomena. Aleksander Grin uses in his novels numerous color names to create pictures of inanimate nature, which represent four fields of chromatic colours: blue, green, red and yellow, and three fields of achromatic colors: white, black and grey. The words, referring to colours, used in the analysed works are represented by different parts of speech – not only adjectives (15 lexems), but also nouns (6), adverbs (1), verbs (2) and participles (2).

The Effect of Camera Calibration on Multichannel Texture Classification

The efficiency of a texture classification procedure depends on the color space in which it is performed. Classification in a perceptually meaningful space requires chromatic coordinates obtained from a calibrated acquisition setup. The authors assess the impact of camera calibration, within a generic color picture acquisition workflow, on the performance of a number of texture classification techniques. An image calibration pipeline is established and applied to a texture database, and the accuracy of the classification algorithms is evaluated for each step. The results show that the most significant step of the workflow is color rendering although the effect is relatively small. Hence precise scene-referred characterization of the raw data from an acquisition camera is notessential for most texture classification tasks. In addition, workingwith output-referred RGB data is likely to be adequate for the majority of classification tasks.