MRI image segmantation based on edge detection

Cílem této práce je představit základní segmentační techniky používáné v oblasti medicínského zpracování obrazových dat a pomocí 3D prohlížeče schopného zobrazit 3D obrazy implementovat segmentační modul založený na hranové detekci a vyhodnotit výsledky. Navrhovaný prohlížeč je sestavený v prostředi Matlab GUI a je schopen načíst objem 3D snímků představující lidskou hlavu. Navrhovaný segmentační modul je založen na použití hranových detektorů, zejména Cannyho detektoru.The aim of this thesis is to present the basic segmentation techniques uses in the field of medical image processing and by using a 3D viewer able to visualize 3D images, implement a segmentation module based on edges detection and evaluate the results. The proposed viewer is a 3D viewer build using matlab GUI and is able to load a volume of images representing the human head. The proposed segmentation module is based on the use of edge detectors particularly the Canny algorithm.

Beauty as Pride: A Function of Agency

This is basically a paper about artistic evaluation and how multiple interpretations can give rise to inconsistent and conflicting meanings. Images like Joel-Peter Witkin’s First Casting for Milo (2004) challenge the viewer to look closely, understand the formal properties at work, and then extract a meaning that ultimately asks, Is the model exploited or empowered? Is Karen Duffy, pictured here, vulnerable and “enfreaked” or is she potentially subversive, transgressive, and perhaps self-empowered? I will offer an argument in agreement with artist/author/ performer Ann Millett-Gallant that favors the latter interpretation, but will augment and complicate the issue by also introducing a pointed question or two taken from a recent analysis by Cynthia Freeland on objectification. I judge the works by photographer Joel-Peter Witkin to be representations of disabled persons who are empowered through agency and pride, but I also worry about the risk of multiple, conflicting interpretations on the part of viewers who do not, or cannot, entertain such enlightened readings. Like second wave feminist views about pornography that depicted women in demeaning ways, or feminist critiques of Judy Chicago’s The Dinner Party , Witkin’s photos can be judged as potentially offensive. But they are also objects of beauty—both in terms of aesthetic properties (they are magnificent studies in black and white, shadows, the human body, with many classical references) and because of the feeling of beauty and pride felt by the posers, who become performers of their own beauty and pride. I argue that beauty trumps offensiveness. Pride wins. But I’m not sure that everyone will agree

Quo vadimus? The 21st Century and multimedia

The concept is related of computer driven multimedia to the NASA Scientific and Technical Information Program (STIP). Multimedia is defined here as computer integration and output of text, animation, audio, video, and graphics. Multimedia is the stage of computer based information that allows access to experience. The concepts are also drawn in of hypermedia, intermedia, interactive multimedia, hypertext, imaging, cyberspace, and virtual reality. Examples of these technology developments are given for NASA, private industry, and academia. Examples of concurrent technology developments and implementations are given to show how these technologies, along with multimedia, have put us at the threshold of the 21st century. The STI Program sees multimedia as an opportunity for revolutionizing the way STI is managed

Using high resolution displays for high resolution cardiac data

The ability to perform fast, accurate, high resolution visualization is fundamental to improving our understanding of anatomical data. As the volumes of data increase from improvements in scanning technology, the methods applied to rendering and visualization must evolve. In this paper we address the interactive display of data from high resolution MRI scanning of a rabbit heart and subsequent histological imaging. We describe a visualization environment involving a tiled LCD panel display wall and associated software which provide an interactive and intuitive user interface. The oView software is an OpenGL application which is written for the VRJuggler environment. This environment abstracts displays and devices away from the application itself, aiding portability between different systems, from desktop PCs to multi-tiled display walls. Portability between display walls has been demonstrated through its use on walls at both Leeds and Oxford Universities. We discuss important factors to be considered for interactive 2D display of large 3D datasets, including the use of intuitive input devices and level of detail aspects

Anatomies of Melancholy

The works presented in Anatomies of Melancholy explore the residual affects of pain and trauma through photography. By combining personal stories with documentary photography this body of work conveys a tension between the (in)visibility of pain and the need to speak*. Through the process of spending time with individuals and discussing their personal trauma while making photographs, I hope to acknowledge and even conserve the pain of others. Though the images do not include a narrative of the subjects\u27 pain, they are able to communicate and begin a visual discourse. The raw and emotive images become a platform for the viewer to empathize with the pain of others or understand their own pain. I am interested in a photograph\u27s power to console, articulate and offer a map of our experiences. Anatomies of Melancholy questions the stigmatization of pain by serving as a reminder that it is a human condition, felt by all. *Reinhardt, Mark, Holly Edwards and Erina Dugganne. Beautiful Suffering: Photography and the Traffic in Pain, 11

Research students exhibition catalogue 2011

The catalogue demonstrates the scope and vibrancy of current inquiries and pays tribute to the creative capacity and investment of UCA research students. It brings together contributions from students who are at different stages in their research ad/venture. Their explorations are connected by the centrality of contemporary material practices as focal point for the reconsideration of societal values, cultural symbols and rituals and their meaning, and the trans/formation of individual, collective and national identities The media and formats employed range from cloth, jewellery and ceramics to analogue film, the human voice and the representation of dress and fashionin virtual environments. Thematic interests span from explorations at the interface of art and medical science to an investigation of the role of art in contested spaces, or the role of metonymy in ‘how the arts think’ And whilst the projects are motivated by personal curiosity and passion, their outcomes transcend the boundaries of individual practice and offer new insights, under-standing and applications for the benefit of wider society. Prof. Kerstin Me

In the Vernacular: Photography of the Everyday

This is the catalogue of the exhibition "In the Vernacular" at Boston University Art Gallery

Misdirect movies

Misdirect Movies is a curated touring exhibition exploring new possibilities of collage, employing material gleaned from cinema. With access to digital formats, artists are now able to appropriate films to create different and innovative approaches to collage. This builds upon research disseminated in artworks such as The Jump and Frames and the curated exhibition, Unspooling: Artists & Cinema The selected artists explore these ideas in diverse ways to work with narrative through different media. The exhibition will be supplemented by a catalogue, new artwork commissions, a series of artist/curator talks, film screenings, workshops and a website. The idea of the exhibition is to make us look anew at the familiarity of artist's use of collage, moving image and the cinema space. The exhibition includes work by the curators, alongside five artists from the UK, Germany and USA- Elizabeth McAlpine, Dave Griffiths, Cathy Lomax, Rosa Barba and David Reed. The selected artists work across different mediums and have a sustained engagement with the subject of the exhibition. There will be three new commissions launching at touring venues from the selected artists. The exhibition tours from Royal Standard, Liverpool (16-31 March 2013) and tours to Standpoint Gallery, London (5 July- 17 August 2013), Greyfriars, Lincoln (4-26 October 2013) and Meter Room, Coventry (8 November - 1 December 2013). The catalogue is published by Cornerhouse Publications and feature essays by Andrew Bracey, Dr. John Rimmer, Dr. Jaimie Baron, Dr. Maria Walsh and an interview between Dr. Sam George and Sir Christopher Frayling. The catalogue essays reflect the interdisciplinary nature of the exhibition's curatorial focus and feature contributions from visual arts, English literature and film studies backgrounds. The research is further disseminated by talks, critical essays on the website and introduced screenings of artist's films

Exploring the Potential of 3D Visualization Techniques for Usage in Collaborative Design

Best practice for collaborative design demands good interaction between its collaborators. The capacity to share common knowledge about design models at hand is a basic requirement. With current advancing technologies gathering collective knowledge is more straightforward, as the dialog between experts can be supported better. The potential for 3D visualization techniques to become the right support tool for collaborative design is explored. Special attention is put on the possible usage for remote collaboration. The opportunities for current state-of-the-art visualization techniques from stereoscopic vision to holographic displays are researched. A classification of the various systems is explored with respect to their tangible usage for augmented reality. Appropriate interaction methods can be selected based on the usage scenario

Graphic Content Warning; Personal and Political Traumas

The written portion of this thesis work is meant to address and further investigate the visual work created using mediums of print and found video. This artistic research has been interested in examining varying associations with truth, recollection, and evidence. This includes the recollection of public histories and news-media narratives as well as my own history and trauma. Through this work my aim was to create a deconstruction and revolt against how associations are formed, and how to understand imagery as information. This thesis first discusses my relationship to appropriated imagery, then connects and examines it through the addition of poetic elements and events from my own lived experience