Image quality index of the monochrome archival photographs' compression

The recent process of digitalizing archives has increased the importance of choosing the best compression method and evaluating the quality of the compressed materials. Our paper focuses on monochrome photographs. We suggest a new image quality index partly based on Human Visual System. We think that, despite its simplicity, it is equal to Mean Subjective Rank. In addition, we intend to ascertain that (the index submitted by us) our index is very easy both to understand and to implement

Digital imaging technology assessment: Digital document storage project

An ongoing technical assessment and requirements definition project is examining the potential role of digital imaging technology at NASA's STI facility. The focus is on the basic components of imaging technology in today's marketplace as well as the components anticipated in the near future. Presented is a requirement specification for a prototype project, an initial examination of current image processing at the STI facility, and an initial summary of image processing projects at other sites. Operational imaging systems incorporate scanners, optical storage, high resolution monitors, processing nodes, magnetic storage, jukeboxes, specialized boards, optical character recognition gear, pixel addressable printers, communications, and complex software processes

Graphic arts requirements for electronic image management systems for the library and corporate information center

The value of legacy documents, important documents that exist only in printed form, is increased when those documents are transformed by an Electronic Image Management (EIM) System into digital form. The image quality observed from many of these systems is much poorer than that which is typical in the Graphic Arts field. This research has sought to understand whether the poor quality was due to the past constraints of slow computing power, high storage costs, and narrow network bandwidths. Users of EIM systems in Libraries and Corporate Information Centers were interviewed to assess their fundamental quality requirements relative to competing requirements for cost, turnaround time and speed. The process tool, Quality Function Deployment (QFD), was used to gather and process user requirements. QFD was chosen because of it\u27s methodical structure for the interview process and subsequent analysis. The resulting requirements were organized into a QFD House of Quality , arraying customer requirements against technical responses. Subsequent analysis of the House of Quality and transcripts of the customer interviews suggests that requirements for high speed and low cost, predominate over Graphic Arts quality for most users. The focus on speed and cost was most obvious for those applying EIM to commercial purposes in Corporate Information Centers. While Library users had a shared interest in speed and cost, they have a specialty application of EIM, preservation and conservation. In this application, EIM is used to preserve and save printed documents that are deteriorating. For this specialty application, quality is paramount. While cost and speed are still important, they cannot be sacrificed for quality or speed

Digital document imaging systems: An overview and guide

This is an aid to NASA managers in planning the selection of a Digital Document Imaging System (DDIS) as a possible solution for document information processing and storage. Intended to serve as a manager's guide, this document contains basic information on digital imaging systems, technology, equipment standards, issues of interoperability and interconnectivity, and issues related to selecting appropriate imaging equipment based upon well defined needs

Electronic Imaging & the Visual Arts. EVA 2012 Florence

The key aim of this Event is to provide a forum for the user, supplier and scientific research communities to meet and exchange experiences, ideas and plans in the wide area of Culture & Technology. Participants receive up to date news on new EC and international arts computing & telecommunications initiatives as well as on Projects in the visual arts field, in archaeology and history. Working Groups and new Projects are promoted. Scientific and technical demonstrations are presented

Monochrome memories: nostalgia and style in 1990s America

Memory is central to the way that cultures produce, negotiate and contest ideas of nationhood. This work examines how, as an aesthetic mode of nostalgia, the black and white image was used in the 1990s to establish and legitimate particular kinds of memory within American cultural life. It locates the production of visual (monochrome) memory in different forms of cultural media and explores how attempts were made in the nineties to authorize a consensual past, a core memory - what might be called an archival essence - for a stable and unified concept of "America." The 1990s were a period when liberal ideologies of nationhood and mythologies of Americanness came under particular, and intensified, pressure. In a time when national identity was being undermined by transnational political and economic restructuring, when ideas of national commonality were being challenged by an emergent politics of difference, and when the metanarratives of memory were straining for legitimacy against the multiple pasts of the marginalized, the desire to stabilize the configuration and perceived transmission of American cultural identity became a defining aspect of hegemonic memory politics. By considering monochrome memory in nineties mass media, I look at the way that a particular "nostalgia mode" was used stylistically within visual culture and was taken up within a discourse of stable nationhood. By examining the production and visuality of aestheticized nostalgia, I make a cultural but also a conceptual argument. Much of the contemporary work on nostalgia is bound in critiques of its reactionary politics, its sanitization of history, or its symptomatic contribution to the amnesiac tendencies of postmodern culture. I explore the subject from the vantage point of cultural studies, mediating between theories that understand nostalgia in terms of cultural longing and/or postmodern forgetting. I account for the manner in which nostalgia has become divorced from any necessary concept of loss, but, also, how particular modes of nostalgia have been used affectively in the mass media to perform specific cultural and memory work. Critically, I examine nostalgia as a cultural style, anchoring a set of questions that can be asked of its signifying and political functionality in the visual narratives of the dominant media

Digital Imaging and Preservation Microfilming: The Future of the Hybrid Approach for the Preservation of Brittle Books

This working paper examines the dual use of microfilm for preservation and digital imaging for enhanced access in the context of the brittle books program. It seeks to build on work that has already been accomplished, principally through projects conducted at Cornell University and Yale University; to propose a hybrid strategy; and to raise questions and suggest means for answering them before such a strategy can be broadly implemented.National Endowment for the Humanities, Research Libraries Group, Council on Library and Information ResourcesPeer Reviewedhttps://deepblue.lib.umich.edu/bitstream/2027.42/149488/1/WP06 Hybrid Report CLIR 1998.pdfDescription of WP06 Hybrid Report CLIR 1998.pdf : Main articl

Monochrome memories: nostalgia and style in 1990s America

Memory is central to the way that cultures produce, negotiate and contest ideas of nationhood. This work examines how, as an aesthetic mode of nostalgia, the black and white image was used in the 1990s to establish and legitimate particular kinds of memory within American cultural life. It locates the production of visual (monochrome) memory in different forms of cultural media and explores how attempts were made in the nineties to authorize a consensual past, a core memory - what might be called an archival essence - for a stable and unified concept of "America." The 1990s were a period when liberal ideologies of nationhood and mythologies of Americanness came under particular, and intensified, pressure. In a time when national identity was being undermined by transnational political and economic restructuring, when ideas of national commonality were being challenged by an emergent politics of difference, and when the metanarratives of memory were straining for legitimacy against the multiple pasts of the marginalized, the desire to stabilize the configuration and perceived transmission of American cultural identity became a defining aspect of hegemonic memory politics. By considering monochrome memory in nineties mass media, I look at the way that a particular "nostalgia mode" was used stylistically within visual culture and was taken up within a discourse of stable nationhood. By examining the production and visuality of aestheticized nostalgia, I make a cultural but also a conceptual argument. Much of the contemporary work on nostalgia is bound in critiques of its reactionary politics, its sanitization of history, or its symptomatic contribution to the amnesiac tendencies of postmodern culture. I explore the subject from the vantage point of cultural studies, mediating between theories that understand nostalgia in terms of cultural longing and/or postmodern forgetting. I account for the manner in which nostalgia has become divorced from any necessary concept of loss, but, also, how particular modes of nostalgia have been used affectively in the mass media to perform specific cultural and memory work. Critically, I examine nostalgia as a cultural style, anchoring a set of questions that can be asked of its signifying and political functionality in the visual narratives of the dominant media