1,174 research outputs found

    Caricature generator

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    Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1982.MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.Bibliography: leaves 111-116.The human face is a highly significant visual display which we are able to remember and recognize easily despite the fact that we are exposed to thousands of faces which may be metrically very similar. caricature is a graphical coding of facial features which seeks to be more like the face than the face itself: selected information is exaggerated, noise is reduced, and the processes involved in recognition are exploited. After studying the methods of caricaturists, examining perceptual phenomena regarding individuating features, and surveying automatic and man-machine systems which represent and manipulate the face, some heuristics for caricature are defined . An algorithm is implemented to amplify the nuance of a human face in a computer- generated caricature. This is done by comparing the face to a norm and then distorting the face even further away from that norm . Issues of style, context and animation are discussed. The applications of the caricature generator in the areas of teleconferencing, games, and interactive graphic interfaces are explored.by Susan Elise Brennan.M.S.V.S

    Volume 2 Number 1

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    Volume 2 Number 1

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    MEDIA, STEREOTYPES AND MUSLIM REPRESENTATION: WORLD AFTER JYLLANDS-POSTEN MUHAMMAD CARTOONS CONTROVERSY

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    In the 21st century media has become the dominant source of knowledge of Islam and Muslims and selectively decides what the West should know about Islam and what should be hidden. However, the underlying assumption is that, the media as an institution forming stereotypes depends on the local socio-cultural context. The goal of this paper – to find out how media (as the mediator) forms values, world view of a society, creates stereotypes in different cultural environments through analysis of Muhammad cartoons. The objectives are: to define the concepts of Neo-Orientalism, Muslimophobia and Islamophobia; to find out the connection between media representations and negative images of Islam and Muslims in the society; to reveal the main stereotypes of Muslims and Islam in online media in 4 different countries by analysing the case of Muhammad cartoons. The conducted qualitative and quantitative content analysis confirmed the hypothesis that in the specific cultures the same event is presented in different ways while forming value based orientation for a specific audience. Western media seeks to portray Muslims as terrorists / Islamists that are against West, their values and any possibility of integration in Western societies. Meanwhile, Lebanon and India (Kashmir) media does not portray orientalism and Islamophobic views, because audiences are dominated by Muslims. However there are noticeable manifestations of Occidentalism - resistance to the West and the Islamophobic portrayal of public in media. Moreover, information serves as a public mobilization function, so there are reasons to believe that violent protests in Kashmir and Lebanon could have been encouraged by the media

    Animating perception: British cartoons from music hall to cinema, 1880 - 1928

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    This thesis examines the history of animated cartoons in Britain between 1880 and 1928, identifying a body of work that has been largely ignored by film and animation historians, covering the production, distribution, and exhibition of these films. Throughout this history, graphic arts - especially print cartooning and illustration - and the music-hall lightning cartoon act are found to have played a formative role in British animated cartoons. The artists who made the first British animated cartoons were almost exclusively drawn from one of those two fields and thus this work may be considered to form a parallel history of ‘artists’ film’. They brought with them to film a range of concerns from those prior forms that would shape British animated cartoons. Examining that context provides an understanding of the ways British animated cartoons developed in technologic, economic, and aesthetic terms. This work includes the first in-depth history of the music-hall lightning cartoon act, which finds that it anticipates cinematic animation, featuring qualities such as transformation, the movement of line drawings, and the desire to bring drawings to life. Building on this history, a new critical framework for examining these films aesthetically is provided, emphasising the role of the spectator and their perceptual processes. This framework draws upon the work of E.H. Gombrich and Sergei Eisenstein, and extends it to include recent findings from neuroscientific fields. The result is an original aesthetic reading of this body of work, which finds the films to have a deep engagement with the basic perceptual processes involved in viewing moving line drawings

    The Narratology of Comic Art

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    By placing comics in a lively dialogue with contemporary narrative theory, The Narratology of Comic Art builds a systematic theory of narrative comics, going beyond the typical focus on the Anglophone tradition. This involves not just the exploration of those properties in comics that can be meaningfully investigated with existing narrative theory, but an interpretive study of the potential in narratological concepts and analytical procedures that has hitherto been overlooked. This research monograph is, then, not an application of narratology in the medium and art of comics, but a revision of narratological concepts and approaches through the study of narrative comics. Thus, while narratology is brought to bear on comics, equally comics are brought to bear on narratology.Peer reviewe

    Less realism : more meaning : evaluating imagery for the graphic designer

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    Typography\u27 as a defining term has become interchangcable with \u27graphic design\u27. and while font choice and application is seen as of paramount importance. image choice, virtually half , . of the communication design equation, is neglected in the theory and in pratice is left to the instinct of the designer. In this thesis I try to find approaches for graphic designers to understand image to the degree that they understand type. These approaches are tested through assignments for graphic design students and the results recorded and analysed. I seek to address the paradox that we are able to communicate more accurately through less accurately rendered images. I will explain how the human visual system. evolved over time by looking only upon the natural world in all its reality. can look upon a stick-figure and make an emotional and intellectual connection. I examine the design implications of this strange faculty of the visual system. Gombrich. Arnheim and others have explored realism in, and applied psychology to, art in order to become better art historians. I explore the implications in the more pragmatic. economically imperative field of design of moving away from realism in the visual aspects of communication

    Perception and recognition of computer-enhanced facial attributes and abstracted prototypes

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    The influence of the human facial image was surveyed and the nature of its many interpretations were examined. The role of distinctiveness was considered particularly relevant as it accounted for many of the impressions of character and identity ascribed to individuals. The notion of structural differences with respect to some selective essence of normality is especially important as it allows a wide range of complex facial types to be considered and understood in an objective manner. A software tool was developed which permitted the manipulation of facial images. Quantitative distortions of digital images were examined using perceptual and recognition memory paradigms. Seven experiments investigated the role of distinctiveness in memory for faces using synthesised caricatures. The results showed that caricatures, both photographic and line-drawing, improved recognition speed and accuracy, indicating that both veridical and distinctiveness information are coded for familiar faces in long-term memory. The impact of feature metrics on perceptual estimates of facial age was examined using 'age-caricatured' images and were found to be in relative accordance with the 'intended' computed age. Further modifying the semantics permitted the differences between individual faces to be visualised in terms of facial structure and skin texture patterns. Transformations of identity between two, or more, faces established the necessary matrices which can offer an understanding of facial expression in a categorical manner and the inherent interactions. A procedural extension allowed generation of composite images in which all features are perfectly aligned. Prototypical facial types specified in this manner enabled high-level manipulations to be made of gender and attractiveness; two experiments corroborated previously speculative material and thus gave credence to the prototype model. In summary, psychological assessment of computer-manipulated facial images demonstrated the validity of the objective techniques and highlighted particular parameters which contribute to our perception and recognition of the individual and of underlying facial types

    Coming to terms with Gonzo journalism : an analysis in Russian formalism.

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    Gonzo journalism is notoriously difficult to define because of its ambiguous nature. To date, scholarly definitions focus on historical interpretations of Gonzo’s content, its connection to social and political contexts, or the biography of Hunter S. Thompson. These definitional attempts neglect the formal devices of the composition. This thesis aims to redefine Gonzo as its own genre by using the nearly forgotten methods of Russian formalism—specifically the works of Victor Shklovsky, Vladimir Propp, and Boris Tomashevsky—to analyze the formal devices and components of its form. The results are twofold; first, it acts to rejuvenate an unpopular literary theory by illustrating its value in examining literature and, secondly, it reveals key identity markers that encourage Gonzo’s redefinition. Thus, the outcome of this thesis is to establish Gonzo as its own genre that is objectively defined by its composition rather than subjective interpretations of its content, context, or author
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