Pembentukan Pola Desain Motif Karawo Gorontalo Menggunakan K-Means Color Quantization dan Structured Forest Edge Detecion

Sulaman Karawo merupakan kerajinan tangan berupa sulaman khas dari daerah Gorontalo. Motif sulaman diterapkan secara detail berdasarkan suatu pola desain tertentu. Pola desain digambarkan pada kertas dengan berbagai panduannya. Gambar yang diterapkan pada pola memiliki resolusi sangat rendah dan harus mempertahankan bentuknya. Penelitian ini mengembangkan metode pembentukan pola desain motif Karawo dari citra digital. Proses dilakukan dengan pengolahan awal menggunakan k-means color quantization (KMCQ) dan deteksi tepi structured forest. Proses selanjutnya melakukan pengurangan resolusi menggunakan metode pixelation dan binarization. Luaran dari algoritma menghasilkan 3 citra berbeda dengan ukuran yang sama, yaitu: citra tepi, citra biner, dan citra berwarna. Ketiga citra tersebut selanjutnya dilakukan proses pembentukan pola desain motif Karawo dengan berbagai petunjuk pola bagi pengrajin. Hasil menunjukkan bahwa pola desain motif dapat digunakan dan dimengerti oleh para pengrajin dalam menerapkannya di sulaman Karawo. Pengujian nilai-nilai parameter dilakukan pada metode k-means, gaussian filter, pixelation, dan binarization. Parameter-parameter tersebut yaitu: k pada k-means, kernel pada gaussian filter, lebar piksel pada pixelation, dan nilai threshold pada binarization. Pengujian menunjukkan nilai terendah tiap parameter adalah k=4, kernel=3x3, lebar piksel=70, dan threshold=20. Hasil memperlihatkan makin tinggi nilai-nilai tersebut maka semakin baik pola desain motif yang dihasilkan. Nilai-nilai tersebut merupakan nilai parameter terendah dalam pembentukan pola desain motif berkualitas baik berdasarkan indikator-indikator dari desainer. AbstractKarawo embroidery is a unique handicraft from Gorontalo. The embroidery motif is applied in detail based on a certain design pattern. These patterns are depicted on paper with various guides. The image applied to the pattern is very low resolution and retains its shape. This study develops a method to generate a Karawo design pattern from a digital image. The process begins by using k-means color quantization (KMCQ) to reduce the number of colors and edge detection of the structured forest. The next process is to change the resolution using pixelation and binarization methods. The output algorithm produces 3 different state images of the same size, which are: edge image, binary image, and color image. These images are used in the formation of the Karawo motif design pattern. The motif contains various pattern instructions for the craftsman. The results show that it can be used and understood by the craftsmen in its application in Karawo embroidery. Testing parameter values on the k-means method, Gaussian filter, pixelation, and binarization. These parameters are k on KMCQ, the kernel on a gaussian filter, pixel width in pixelation, and threshold value in binarization. The results show that the lowest value of each parameter is k=4, kernel=3x3, pixel width=70, and threshold=20. The results show that the higher these values, the better the results of the pattern design motif. Those values are the lower input to generate a good quality pattern design based on the designer’s indicators

Exploring visual representation of sound in computer music software through programming and composition

Presented through contextualisation of the portfolio works are developments of a practice in which the acts of programming and composition are intrinsically connected. This practice-based research (conducted 2009–2013) explores visual representation of sound in computer music software. Towards greater understanding of composing with the software medium, initial questions are taken as stimulus to explore the subject through artistic practice and critical thinking. The project begins by asking: How might the ways in which sound is visually represented influence the choices that are made while those representations are being manipulated and organised as music? Which aspects of sound are represented visually, and how are those aspects shown? Recognising sound as a psychophysical phenomenon, the physical and psychological aspects of aesthetic interest to my work are identified. Technological factors of mediating these aspects for the interactive visual-domain of software are considered, and a techno-aesthetic understanding developed. Through compositional studies of different approaches to the problem of looking at sound in software, on screen, a number of conceptual themes emerge in this work: the idea of software as substance, both as a malleable material (such as in live coding), and in terms of outcome artefacts; the direct mapping between audio data and screen pixels; the use of colour that maintains awareness of its discrete (as opposed to continuous) basis; the need for integrated display of parameter controls with their target data; and the tildegraph concept that began as a conceptual model of a gramophone and which is a spatio-visual sound synthesis technique related to wave terrain synthesis. The spiroid-frequency-space representation is introduced, contextualised, and combined both with those themes and a bespoke geometrical drawing system (named thisis), to create a new modular computer music software environment named sdfsys

Cruiser and PhoTable: Exploring Tabletop User Interface Software for Digital Photograph Sharing and Story Capture

Digital photography has not only changed the nature of photography and the photographic process, but also the manner in which we share photographs and tell stories about them. Some traditional methods, such as the family photo album or passing around piles of recently developed snapshots, are lost to us without requiring the digital photos to be printed. The current, purely digital, methods of sharing do not provide the same experience as printed photographs, and they do not provide effective face-to-face social interaction around photographs, as experienced during storytelling. Research has found that people are often dissatisfied with sharing photographs in digital form. The recent emergence of the tabletop interface as a viable multi-user direct-touch interactive large horizontal display has provided the hardware that has the potential to improve our collocated activities such as digital photograph sharing. However, while some software to communicate with various tabletop hardware technologies exists, software aspects of tabletop user interfaces are still at an early stage and require careful consideration in order to provide an effective, multi-user immersive interface that arbitrates the social interaction between users, without the necessary computer-human interaction interfering with the social dialogue. This thesis presents PhoTable, a social interface allowing people to effectively share, and tell stories about, recently taken, unsorted digital photographs around an interactive tabletop. In addition, the computer-arbitrated digital interaction allows PhoTable to capture the stories told, and associate them as audio metadata to the appropriate photographs. By leveraging the tabletop interface and providing a highly usable and natural interaction we can enable users to become immersed in their social interaction, telling stories about their photographs, and allow the computer interaction to occur as a side-effect of the social interaction. Correlating the computer interaction with the corresponding audio allows PhoTable to annotate an automatically created digital photo album with audible stories, which may then be archived. These stories remain useful for future sharing -- both collocated sharing and remote (e.g. via the Internet) -- and also provide a personal memento both of the event depicted in the photograph (e.g. as a reminder) and of the enjoyable photo sharing experience at the tabletop. To provide the necessary software to realise an interface such as PhoTable, this thesis explored the development of Cruiser: an efficient, extensible and reusable software framework for developing tabletop applications. Cruiser contributes a set of programming libraries and the necessary application framework to facilitate the rapid and highly flexible development of new tabletop applications. It uses a plugin architecture that encourages code reuse, stability and easy experimentation, and leverages the dedicated computer graphics hardware and multi-core processors of modern consumer-level systems to provide a responsive and immersive interactive tabletop user interface that is agnostic to the tabletop hardware and operating platform, using efficient, native cross-platform code. Cruiser's flexibility has allowed a variety of novel interactive tabletop applications to be explored by other researchers using the framework, in addition to PhoTable. To evaluate Cruiser and PhoTable, this thesis follows recommended practices for systems evaluation. The design rationale is framed within the above scenario and vision which we explore further, and the resulting design is critically analysed based on user studies, heuristic evaluation and a reflection on how it evolved over time. The effectiveness of Cruiser was evaluated in terms of its ability to realise PhoTable, use of it by others to explore many new tabletop applications, and an analysis of performance and resource usage. Usability, learnability and effectiveness of PhoTable was assessed on three levels: careful usability evaluations of elements of the interface; informal observations of usability when Cruiser was available to the public in several exhibitions and demonstrations; and a final evaluation of PhoTable in use for storytelling, where this had the side effect of creating a digital photo album, consisting of the photographs users interacted with on the table and associated audio annotations which PhoTable automatically extracted from the interaction. We conclude that our approach to design has resulted in an effective framework for creating new tabletop interfaces. The parallel goal of exploring the potential for tabletop interaction as a new way to share digital photographs was realised in PhoTable. It is able to support the envisaged goal of an effective interface for telling stories about one's photos. As a serendipitous side-effect, PhoTable was effective in the automatic capture of the stories about individual photographs for future reminiscence and sharing. This work provides foundations for future work in creating new ways to interact at a tabletop and to the ways to capture personal stories around digital photographs for sharing and long-term preservation

Media Space: an analysis of spatial practices in planar pictorial media.

The thesis analyses the visual space displayed in pictures, film, television and digital interactive media. The argument is developed that depictions are informed by the objectives of the artefact as much as by any simple visual correspondence to the observed world. The simple concept of ‘realism’ is therefore anatomised and a more pragmatic theory proposed which resolves some of the traditional controversies concerning the relation between depiction and vision. This is then applied to the special problems of digital interactive media. An introductory chapter outlines the topic area and the main argument and provides an initial definition of terms. To provide a foundation for the ensuing arguments, a brief account is given of two existing and contrasted approaches to the notion of space: that of perception science which gives priority to acultural aspects, and that of visual culture which emphasises aspects which are culturally contingent. An existing approach to spatial perception (that of JJ Gibson originating in the 1940s and 50s) is applied to spatial depiction in order to explore the differences between seeing and picturing, and also to emphasise the many different cues for spatial perception beyond those commonly considered (such as binocularity and linear perspective). At this stage a simple framework of depiction is introduced which identifies five components or phases: the objectives of the picture, the idea chosen to embody the objectives, the model (essentially, the visual ‘subject matter’), the characteristics of the view and finally the substantive picture or depiction itself. This framework draws attention to the way in which each of the five phases presents an opportunity for decision-making about representation. The framework is used and refined throughout the thesis. Since pictures are considered in some everyday sense to be ‘realistic’ (otherwise, in terms of this thesis, they would not count as depictions), the nature of realism is considered at some length. The apparently unitary concept is broken down into several different types of realism and it is argued that, like the different spatial cues, each lends itself to particular objectives intended for the artefact. From these several types, two approaches to realism are identified, one prioritising the creation of a true illusion (that the picture is in fact a scene) and the other (of which there are innumerably more examples both across cultures and over historical time) one which evokes aspects of vision without aiming to exactly imitate the optical stimulus of the scene. Various reasons for the latter approach, and the variety of spatial practices to which it leads, are discussed. In addition to analysing traditional pictures, computer graphics images are discussed in conjunction with the claims for realism offered by their authors. In the process, informational and affective aspects of picture-making are distinguished, a distinction which it is argued is useful and too seldom made. Discussion of still pictures identifies the evocation of movement (and other aspects of time) as one of the principal motives for departing from attempts at straightforward optical matching. The discussion proceeds to the subject of film where, perhaps surprisingly now that the depiction of movement is possible, the lack of straightforward imitation of the optical is noteworthy again. This is especially true of the relationship between shots rather than within them; the reasons for this are analysed. This reinforces the argument that the spatial form of the fiction film, like that of other kinds of depiction, arises from its objectives, presenting realism once again as a contingent concept. The separation of depiction into two broad classes – one which aims to negate its own mediation, to seem transparent to what it depicts, and one which presents the fact of depiction ostensively to the viewer – is carried through from still pictures, via film, into a discussion of factual television and finally of digital interactive media. The example of factual television is chosen to emphasise how, despite the similarities between the technologies of film and television, spatial practices within some television genres contrast strongly with those of the mainstream fiction film. By considering historic examples, it is shown that many of the spatial practices now familiar in factual television were gradually expunged from the classical film when the latter became centred on the concerns of narrative fiction. By situating the spaces of interactive media in the context of other kinds of pictorial space, questions are addressed concerning the transferability of spatial usages from traditional media to those which are interactive. During the thesis the spatial practices of still-picture-making, film and television are characterised as ‘mature’ and ‘expressive’ (terms which are defined in the text). By contrast the spatial practices of digital interactive media are seen to be immature and inexpressive. It is argued that this is to some degree inevitable given the context in which interactive media artefacts are made and experienced – the lack of a shared ‘language’ or languages in any new media. Some of the difficult spatial problems which digital interactive media need to overcome are identified, especially where, as is currently normal, interaction is based on the relation between a pointer and visible objects within a depiction. The range of existing practice in digital interactive media is classified in a seven-part taxonomy, which again makes use of the objective-idea-model-view-picture framework, and again draws out the difference between self-concealing approaches to depiction and those which offer awareness of depiction as a significant component of the experience. The analysis indicates promising lines of enquiry for the future and emphasises the need for further innovation. Finally the main arguments are summarised and the thesis concludes with a short discussion of the implications for design arising from the key concepts identified – expressivity and maturity, pragmatism and realism

Media Space: an analysis of spatial practices in planar pictorial media.

The thesis analyses the visual space displayed in pictures, film, television and digital interactive media. The argument is developed that depictions are informed by the objectives of the artefact as much as by any simple visual correspondence to the observed world. The simple concept of ‘realism’ is therefore anatomised and a more pragmatic theory proposed which resolves some of the traditional controversies concerning the relation between depiction and vision. This is then applied to the special problems of digital interactive media. An introductory chapter outlines the topic area and the main argument and provides an initial definition of terms. To provide a foundation for the ensuing arguments, a brief account is given of two existing and contrasted approaches to the notion of space: that of perception science which gives priority to acultural aspects, and that of visual culture which emphasises aspects which are culturally contingent. An existing approach to spatial perception (that of JJ Gibson originating in the 1940s and 50s) is applied to spatial depiction in order to explore the differences between seeing and picturing, and also to emphasise the many different cues for spatial perception beyond those commonly considered (such as binocularity and linear perspective). At this stage a simple framework of depiction is introduced which identifies five components or phases: the objectives of the picture, the idea chosen to embody the objectives, the model (essentially, the visual ‘subject matter’), the characteristics of the view and finally the substantive picture or depiction itself. This framework draws attention to the way in which each of the five phases presents an opportunity for decision-making about representation. The framework is used and refined throughout the thesis. Since pictures are considered in some everyday sense to be ‘realistic’ (otherwise, in terms of this thesis, they would not count as depictions), the nature of realism is considered at some length. The apparently unitary concept is broken down into several different types of realism and it is argued that, like the different spatial cues, each lends itself to particular objectives intended for the artefact. From these several types, two approaches to realism are identified, one prioritising the creation of a true illusion (that the picture is in fact a scene) and the other (of which there are innumerably more examples both across cultures and over historical time) one which evokes aspects of vision without aiming to exactly imitate the optical stimulus of the scene. Various reasons for the latter approach, and the variety of spatial practices to which it leads, are discussed. In addition to analysing traditional pictures, computer graphics images are discussed in conjunction with the claims for realism offered by their authors. In the process, informational and affective aspects of picture-making are distinguished, a distinction which it is argued is useful and too seldom made. Discussion of still pictures identifies the evocation of movement (and other aspects of time) as one of the principal motives for departing from attempts at straightforward optical matching. The discussion proceeds to the subject of film where, perhaps surprisingly now that the depiction of movement is possible, the lack of straightforward imitation of the optical is noteworthy again. This is especially true of the relationship between shots rather than within them; the reasons for this are analysed. This reinforces the argument that the spatial form of the fiction film, like that of other kinds of depiction, arises from its objectives, presenting realism once again as a contingent concept. The separation of depiction into two broad classes – one which aims to negate its own mediation, to seem transparent to what it depicts, and one which presents the fact of depiction ostensively to the viewer – is carried through from still pictures, via film, into a discussion of factual television and finally of digital interactive media. The example of factual television is chosen to emphasise how, despite the similarities between the technologies of film and television, spatial practices within some television genres contrast strongly with those of the mainstream fiction film. By considering historic examples, it is shown that many of the spatial practices now familiar in factual television were gradually expunged from the classical film when the latter became centred on the concerns of narrative fiction. By situating the spaces of interactive media in the context of other kinds of pictorial space, questions are addressed concerning the transferability of spatial usages from traditional media to those which are interactive. During the thesis the spatial practices of still-picture-making, film and television are characterised as ‘mature’ and ‘expressive’ (terms which are defined in the text). By contrast the spatial practices of digital interactive media are seen to be immature and inexpressive. It is argued that this is to some degree inevitable given the context in which interactive media artefacts are made and experienced – the lack of a shared ‘language’ or languages in any new media. Some of the difficult spatial problems which digital interactive media need to overcome are identified, especially where, as is currently normal, interaction is based on the relation between a pointer and visible objects within a depiction. The range of existing practice in digital interactive media is classified in a seven-part taxonomy, which again makes use of the objective-idea-model-view-picture framework, and again draws out the difference between self-concealing approaches to depiction and those which offer awareness of depiction as a significant component of the experience. The analysis indicates promising lines of enquiry for the future and emphasises the need for further innovation. Finally the main arguments are summarised and the thesis concludes with a short discussion of the implications for design arising from the key concepts identified – expressivity and maturity, pragmatism and realism

Efficient implementations of machine vision algorithms using a dynamically typed programming language

Current machine vision systems (or at least their performance critical parts) are predominantly implemented using statically typed programming languages such as C, C++, or Java. Statically typed languages however are unsuitable for development and maintenance of large scale systems. When choosing a programming language, dynamically typed languages are usually not considered due to their lack of support for high-performance array operations. This thesis presents efficient implementations of machine vision algorithms with the (dynamically typed) Ruby programming language. The Ruby programming language was used, because it has the best support for meta-programming among the currently popular programming languages. Although the Ruby programming language was used, the approach presented in this thesis could be applied to any programming language which has equal or stronger support for meta-programming (e.g. Racket (former PLT Scheme)). A Ruby library for performing I/O and array operations was developed as part of this thesis. It is demonstrated how the library facilitates concise implementations of machine vision algorithms commonly used in industrial automation. I.e. this thesis is about a different way of implementing machine vision systems. The work could be applied to prototype and in some cases implement machine vision systems in industrial automation and robotics. The development of real-time machine vision software is facilitated as follows 1. A JIT compiler is used to achieve real-time performance. It is demonstrated that the Ruby syntax is sufficient to integrate the JIT compiler transparently. 2. Various I/O devices are integrated for seamless acquisition, display, and storage of video and audio data. In combination these two developments preserve the expressiveness of the Ruby programming language while providing good run-time performance of the resulting implementation. To validate this approach, the performance of different operations is compared with the performance of equivalent C/C++ programs

[Compassionate Systems] Seeing-System

As artists, the best we can aim for is that to experience our work is to glimpse a deeper reality one that consists entirely of interconnected processes and dynamic interactions, and in which everything has intrinsic beauty. Web technologies provide the mercurial, non-material medium for the SeeingSystem piece which functions as a prosthetic operational and conceptual system for seeing. Visual perception is the channel and the world is the object in a transformative, meditative practice that is integrated into daily life. It is an ongoing series of perceptual moments in which ordinary things are seen as beautiful. Each successive moment of perception replaces the last in the same way that, at the end of the process, one slide replaces another. SeeingSystem can be viewed in terms of a process oriented systems aesthetic. This leads to an understanding of form that accounts for the fact that objects are not discrete and disconnected, but are shaped by a system of interrelational processes. Understanding form as a balance of forces operating within constraints allows us to see the artist as one who makes choices in terms of which an artwork comes to embody meaning. Through a process of being aware, moment by moment, of the forces that are in operation within the piece, the artist determines its form and meaning. The concept of compassion, defined as the opposite of aggression, is the animating force for positive artistic action. It is the context in which seeing leads to meaningful perception and, in terms of form, it is the primary constraint in relation to which all other forces must balance

Framework for Automatic Identification of Paper Watermarks with Chain Codes

Title from PDF of title page viewed May 21, 2018Dissertation advisor: Reza DerakhshaniVitaIncludes bibliographical references (pages 220-235)Thesis (Ph.D.)--School of Computing and Engineering. University of Missouri--Kansas City, 2017In this dissertation, I present a new framework for automated description, archiving, and identification of paper watermarks found in historical documents and manuscripts. The early manufacturers of paper have introduced the embedding of identifying marks and patterns as a sign of a distinct origin and perhaps as a signature of quality. Thousands of watermarks have been studied, classified, and archived. Most of the classification categories are based on image similarity and are searchable based on a set of defined contextual descriptors. The novel method presented here is for automatic classification, identification (matching) and retrieval of watermark images based on chain code descriptors (CC). The approach for generation of unique CC includes a novel image preprocessing method to provide a solution for rotation and scale invariant representation of watermarks. The unique codes are truly reversible, providing high ratio lossless compression, fast searching, and image matching. The development of a novel distance measure for CC comparison is also presented. Examples for the complete process are given using the recently acquired watermarks digitized with hyper-spectral imaging of Summa Theologica, the work of Antonino Pierozzi (1389 – 1459). The performance of the algorithm on large datasets is demonstrated using watermarks datasets from well-known library catalogue collections.Introduction -- Paper and paper watermarks -- Automatic identification of paper watermarks -- Rotation, Scale and translation invariant chain code -- Comparison of RST_Invariant chain code -- Automatic identification of watermarks with chain codes -- Watermark composite feature vector -- Summary -- Appendix A. Watermarks from the Bernstein Collection used in this study -- Appendix B. The original and transformed images of watermarks -- Appendix C. The transformed and scaled images of watermarks -- Appendix D. Example of chain cod