Digital Image Access & Retrieval

The 33th Annual Clinic on Library Applications of Data Processing, held at the University of Illinois at Urbana-Champaign in March of 1996, addressed the theme of "Digital Image Access & Retrieval." The papers from this conference cover a wide range of topics concerning digital imaging technology for visual resource collections. Papers covered three general areas: (1) systems, planning, and implementation; (2) automatic and semi-automatic indexing; and (3) preservation with the bulk of the conference focusing on indexing and retrieval.published or submitted for publicatio

JPEG: the quadruple object

The thesis, together with its practice-research works, presents an object-oriented perspective on the JPEG standard. Using the object-oriented philosophy of Graham Harman as a theoretical and also practical starting point, the thesis looks to provide an account of the JPEG digital object and its enfolding within the governmental scopic regime. The thesis looks to move beyond accounts of digital objects and protocols within software studies that position the object in terms of issues of relationality, processuality and potentiality. From an object-oriented point of view, the digital object must be seen as exceeding its relations, as actual, present and holding nothing in reserve. The thesis presents an account of JPEG starting from that position as well as an object-oriented account of JPEG’s position within the distributed, governmental scopic regime via an analysis of Facebook’s Timeline, tagging and Haystack systems. As part of a practice-research project, the author looked to use that perspective within photographic and broader imaging practices as a spur to new work and also as a “laboratory” to explore Harman’s framework. The thesis presents the findings of those “experiments” in the form of a report alongside practice-research eBooks. These works were not designed to be illustrations of the theory, nor works to be “analysed”. Rather, following the lead of Ian Bogost and Mark Amerika, they were designed to be “philosophical works” in the sense of works that “did” philosophy

Software Takes Command

This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. Software has replaced a diverse array of physical, mechanical, and electronic technologies used before 21st century to create, store, distribute and interact with cultural artifacts. It has become our interface to the world, to others, to our memory and our imagination - a universal language through which the world speaks, and a universal engine on which the world runs. What electricity and combustion engine were to the early 20th century, software is to the early 21st century. Offering the the first theoretical and historical account of software for media authoring and its effects on the practice and the very concept of 'media,' the author of The Language of New Media (2001) develops his own theory for this rapidly-growing, always-changing field. What was the thinking and motivations of people who in the 1960 and 1970s created concepts and practical techniques that underlie contemporary media software such as Photoshop, Illustrator, Maya, Final Cut and After Effects? How do their interfaces and tools shape the visual aesthetics of contemporary media and design? What happens to the idea of a 'medium' after previously media-specific tools have been simulated and extended in software? Is it still meaningful to talk about different mediums at all? Lev Manovich answers these questions and supports his theoretical arguments by detailed analysis of key media applications such as Photoshop and After Effects, popular web services such as Google Earth, and the projects in motion graphics, interactive environments, graphic design and architecture. Software Takes Command is a must for all practicing designers and media artists and scholars concerned with contemporary media

Reliability and Accuracy of a Novel Photogrammetric Orthodontic Monitoring System

Purpose: This study quantitatively investigated the reliability and accuracy of Dental Monitoring’sTM proprietary orthodontic tracking system in comparison to an established reference. Materials and Methods: Intraoral scans (True Definition Scanner, 3MTM) and video scans (iPhone 7, AppleTM) were taken of 30 subjects undergoing comprehensive orthodontic treatment at Loma Linda University’s Graduate Orthodontic Clinic at T1 (initial) and T2 (3 months later). At each time point, an intraoral scan was taken by the operator followed by three video scans- two taken by the patient and one by the operator. Three linear and three angular measurements were analyzed using Dental Monitoring’sTM tracking system for all comparisons. Accuracy was determined by comparing orthodontic movement tracked by Dental Monitoring’sTM video scans against those measured via superimposition of STL files generated from the reference scanner using Friedman’s analysis (=.05). Intra-operator and inter-operator variability were evaluated and expressed as the intraclass correlation coefficient. Results: Surface tolerance analysis demonstrated a maximum mean global error of 100 microns associated with the reference scanner. No statistically significant differences were observed between the reference and Dental Monitoring’sTM system for the three linear parameters (p \u3e .05); angular parameters showed statistically significant differences (p \u3c .001). No statistically significant differences were observed when comparing upper vs lower or anterior vs posterior dentition (p \u3e .05). First molar teeth showed statistically significantly greater deviation than central incisors or canines (p \u3c .05). Excellent correlations were observed (ICC \u3e.90) between sequential video scans taken by study participants and between video scans taken by the operator compared to those taken by study participants. Conclusions: The study demonstrated a high level of accuracy when comparing movements tracked by Dental MonitoringTM system against those of the reference scanner. No macro-level differences were detected in the accuracy of the proprietary system when comparing upper vs lower arches or anterior vs posterior sextants. Micro-level differences were noted as the study found greater deviation associated with first molars as compared to central incisors and canines; despite being deemed clinically insignificant. The proprietary system exhibited high levels of both intra-user and inter-user reliability

Software Takes Command

This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. Software has replaced a diverse array of physical, mechanical, and electronic technologies used before 21st century to create, store, distribute and interact with cultural artifacts. It has become our interface to the world, to others, to our memory and our imagination - a universal language through which the world speaks, and a universal engine on which the world runs. What electricity and combustion engine were to the early 20th century, software is to the early 21st century. Offering the the first theoretical and historical account of software for media authoring and its effects on the practice and the very concept of 'media,' the author of The Language of New Media (2001) develops his own theory for this rapidly-growing, always-changing field. What was the thinking and motivations of people who in the 1960 and 1970s created concepts and practical techniques that underlie contemporary media software such as Photoshop, Illustrator, Maya, Final Cut and After Effects? How do their interfaces and tools shape the visual aesthetics of contemporary media and design? What happens to the idea of a 'medium' after previously media-specific tools have been simulated and extended in software? Is it still meaningful to talk about different mediums at all? Lev Manovich answers these questions and supports his theoretical arguments by detailed analysis of key media applications such as Photoshop and After Effects, popular web services such as Google Earth, and the projects in motion graphics, interactive environments, graphic design and architecture. Software Takes Command is a must for all practicing designers and media artists and scholars concerned with contemporary media

Campus Services to Support Historians

As the environment in which humanities scholars work continues to evolve rapidly, the set of support services that will best enable innovative scholarship also changes. But too often, the support services made available to scholars are defined by the traditional core competencies of the service provider rather than by the needs of scholars. In this project, we will take a scholar-centric approach to understanding the information service needs of scholars in the field of history, seeking both to identify concrete needs for new information services and to model an approach to service development that evolves with the needs of scholars. This project will probe how scholars in the field of history rely on existing information services, identify concrete opportunities for new support services that would address unmet needs, and serve as a pilot for a broader program of investigation into the future of information services for the humanities

Developing the ArchAIDE Application: A digital workflow for identifying, organising and sharing archaeological pottery using automated image recognition

Pottery is of fundamental importance for understanding archaeological contexts, facilitating the understanding of production, trade flows, and social interactions. Pottery characterisation and the classification of ceramics is still a manual process, reliant on analogue catalogues created by specialists, held in archives and libraries. The ArchAIDE project worked to streamline, optimise and economise the mundane aspects of these processes, using the latest automatic image recognition technology, while retaining key decision points necessary to create trusted results. Specifically, ArchAIDE worked to support classification and interpretation work (during both fieldwork and post-excavation analysis) with an innovative app for tablets and smartphones. This article summarises the work of this three-year project, funded by the European Union's Horizon 2020 Research and Innovation Programme under grant agreement N.693548, with a consortium of partners representing both the academic and industry-led ICT (Information and Communications Technology) domains, and the academic and development-led archaeology domains. The collaborative work of the archaeological and technical partners created a pipeline where potsherds are photographed, their characteristics compared against a trained neural network, and the results returned with suggested matches from a comparative collection with typical pottery types and characteristics. Once the correct type is identified, all relevant information for that type is linked to the new sherd and stored within a database that can be shared online. ArchAIDE integrated a variety of novel and best-practice approaches, both in the creation of the app, and the communication of the project to a range of stakeholders

Advance

https://digitalcommons.georgiasouthern.edu/advance/1013/thumbnail.jp

A Checklist to Publish Collections as Data in GLAM Institutions

Large-scale digitization in Galleries, Libraries, Archives and Museums (GLAM) created the conditions for providing access to collections as data. It opened new opportunities to explore, use and reuse digital collections. Strong proponents of collections as data are the Innovation Labs which provided numerous examples of publishing datasets under open licenses in order to reuse digital content in novel and creative ways. Within the current transition to the emerging data spaces, clouds for cultural heritage and open science, the need to identify practices which support more GLAM institutions to offer datasets becomes a priority, especially within the smaller and medium-sized institutions. This paper answers the need to support GLAM institutions in facilitating the transition into publishing their digital content and to introduce collections as data services; this will also help their future efficient contribution to data spaces and cultural heritage clouds. It offers a checklist that can be used for both creating and evaluating digital collections suitable for computational use. The main contributions of this paper are i) a methodology for devising a checklist to create and assess digital collections for computational use; ii) a checklist to create and assess digital collections suitable for use with computational methods; iii) the assessment of the checklist against the practice of institutions innovating in the Collections as data field; and iv) the results obtained after the application and recommendations for the use of the checklist in GLAM institutions

Machinic Eyes: New and Post-Digital Aesthetics, Surveillance, and Resistance

This work concerns the rise of the New Aesthetic, an art project developed by James Bridle in 2012. The New Aesthetic, as envisioned by Bridle, was chiefly concerned with the overlapping of physical and digital realities through both the artifacts produced by this overlapping and the systems involved therein. I introduce the advent of the New Aesthetic and present the major criticisms: the lack of a robust theoretical and scholarly framework, the lack of a historical framework, the privileging of artifacts over systems as new Aesthetic, and the fragmented scholarly outlook on the New Aesthetic. Upon further examination, I discovered that the New Aesthetic is less of an art project but a metaphor for a global surveillance apparatus that is the result of clandestine partnerships between multinational technology corporations and intelligence agencies associated the Five Eyes consortium. In this dissertation, I critique the New Aesthetic from a scholarly viewpoint, offer a historical precedent of how the New Aesthetic came to be from cultural and technological perspectives, examine the rise of the global surveillance apparatus within the New Aesthetic, and offer ideas of how to resist surveillance as a result of our reliance upon computational technologies