Image manipulation: Photoshop as a data-measurement tool

Researchers believe that image manipulation threatens photography\u27s perceived objectivity of capturing moments in history. Current research exists that is aimed at determining whether images have been subjected to methods of manipulation. While this research is thorough in its approaches to detection, it lacks methods that would facilitate the measurement of those manipulations; This study uses Photoshop to measure the qualitative changes in images. The aesthetic dimensions set forth by Gillian Rose (2007) such as content, color, spatial organization, and light can be isolated, manipulated, and ultimately measured; This research is aimed at facilitating additional questions regarding what constitutes image manipulation, the extent of image manipulation using the methods described herein, and how image manipulation may affect the viewer. It also hopes to show that widely accepted practices of image modification need to be revisited as technologies continue to update at an unprecedented rate

Landscape Ecology

This book has been written to present major and efficient applications in landscape ecology, as well as to propose a solid action for this category of topics. The book aims to illustrate various treatment methods of the land-use models impact on landscape ecology creation. The book is divided into three parts: Part I: Ecological interpretation of land-use act - in this part, ecosystem and land use turn out to be a significant factor in the process of creating an ecological landscape. Part II: Landscape district in applied ecological analysis - this part attempts to illustrate the best possible model of analysis integrated with landscape in practical case studies. Part III: The anthropogenic impacts on landscape creation - this part discusses the human impact on landscape creation

Gustave Caillebotte and Visual Representation: Perspective, Photography and Movement

ABSTRACT This dissertation examines spatial composition in Caillebotte’s painting and, through it, his ways of producing visual experience for the viewer. The four chapters evaluate the artist’s methods of composition through the use of perspective, photography, light and colour and depiction of the figures. This project will explore the development of his pictorial space organisation through the study of his realist works of the 1870s and the understanding of his convergence with Impressionism at the end of the decade and early 1880s. The first two chapters explore Caillebotte’s approach to spatial organization in his predominantly urban based works of the 1870s, examining the interaction these pictures establish with the viewer through their manipulation of space. It looks at how Caillebotte composed his paintings through the tradition of perspective and also his engagement with photography and photographic effects. The uses of photography in Caillebotte’s work is the particular focus attempts of the second chapter where I weigh up the evidence of Caillebotte’s use of photographic devices and look at the relationship of his painting to his brother’s photography. The second chapter of the dissertation explores Caillebotte’s evolution towards a more Impressionistic style of composition and the artistic dialogue with Monet that drew his work closer to impressionist painting. This sees the transition of Caillebotte’s representation of picture-space from the more structured and ordered compositions of the early 1870s, to a freer and looser style of painting focused more on atmosphere and light. Caillebotte’s depictions of the countryside bear close comparison with Monet in terms of their motifs, palette and technique. Like Monet, Caillebotte begins to translate and organise what he sees through colours, light and movement. However, Caillebotte preserved a sense of spatial structure in most of his paintings that differentiates his work from his Impressionist colleagues. The chapter also goes on to explore whether the change of motif in his work in the 1880s from city to countryside subjects influences his methods of composition? l argue that while Caillebotte and Monet share some similarities, they differ in their approaches towards Impressionism. Caillebotte puts more emphasis on the representation of figures as a way of conveying sensations through the figure’s gaze while Monet prefers to focus on pure landscape, where the only gaze is that of the solitary artist as spectator. The final chapter returns to the question of the figure and the way in which Caillebotte manipulates the attention of the viewer through the directional gaze of the figure in the picture. Here, drawing on the work of Fried and Prendergast among others I look at how Caillebotte creates complex visual effects of spectating in his work and explore some of the ways in which Caillebotte’s painting contains proto-cinematic devices

MELINDA: A Multimodal Dataset for Biomedical Experiment Method Classification

We introduce a new dataset, MELINDA, for Multimodal biomEdicaL experImeNt methoD clAssification. The dataset is collected in a fully automated distant supervision manner, where the labels are obtained from an existing curated database, and the actual contents are extracted from papers associated with each of the records in the database. We benchmark various state-of-the-art NLP and computer vision models, including unimodal models which only take either caption texts or images as inputs, and multimodal models. Extensive experiments and analysis show that multimodal models, despite outperforming unimodal ones, still need improvements especially on a less-supervised way of grounding visual concepts with languages, and better transferability to low resource domains. We release our dataset and the benchmarks to facilitate future research in multimodal learning, especially to motivate targeted improvements for applications in scientific domains.Comment: In The Thirty-Fifth AAAI Conference on Artificial Intelligence (AAAI-21), 202