Hovering

Hovering is an attempt to navigate the contemporary digital environment through traditional means. The imagery created function as paintings, photographs, prints, and drawings. They explore and raise questions about visual perception and sensory awareness, as well as highlighting the modular limitations of the pixelated image and the illusion of reality in the digital landscape

PC-SEAPAK user's guide, version 4.0

PC-SEAPAK is designed to provide a complete and affordable capability for processing and analysis of NOAA Advanced Very High Resolution Radiometer (AVHRR) and Nimbus-7 Coastal Zone Color Scanner (CZCS) data. Since the release of version 3.0 over a year ago, significant revisions were made to the AVHRR and CZCS programs and to the statistical data analysis module, and a number of new programs were added. This new version has 114 procedures listed in its menus. The package continues to emphasize user-friendliness and interactive data analysis. Additionally, because the scientific goals of the ocean color research being conducted have shifted to larger space and time scales, batch processing capabilities were enhanced, allowing large quantities of data to be easily ingested and analyzed. The development of PC-SEAPAK was paralled by two other activities that were influential and assistive: the global CZCS processing effort at GSFC and the continued development of VAX-SEAPAK. SEAPAK incorporates the instrument calibration and support all levels of data available from the CZCS archive

Exploring the effectiveness of similarity-based visualisations for colour-based image retrieval

In April 2009, Google Images added a filter for narrowing search results by colour. Several other systems for searching image databases by colour were also released around this time. These colour-based image retrieval systems enable users to search image databases either by selecting colours from a graphical palette (i.e., query-by-colour), by drawing a representation of the colour layout sought (i.e., query-by-sketch), or both. It was comments left by readers of online articles describing these colour-based image retrieval systems that provided us with the inspiration for this research. We were surprised to learn that the underlying query-based technology used in colour-based image retrieval systems today remains remarkably similar to that of systems developed nearly two decades ago. Discovering this ageing retrieval approach, as well as uncovering a large user demographic requiring image search by colour, made us eager to research more effective approaches for colour-based image retrieval. In this thesis, we detail two user studies designed to compare the effectiveness of systems adopting similarity-based visualisations, query-based approaches, or a combination of both, for colour-based image retrieval. In contrast to query-based approaches, similarity-based visualisations display and arrange database images so that images with similar content are located closer together on screen than images with dissimilar content. This removes the need for queries, as users can instead visually explore the database using interactive navigation tools to retrieve images from the database. As we found existing evaluation approaches to be unreliable, we describe how we assessed and compared systems adopting similarity-based visualisations, query-based approaches, or both, meaningfully and systematically using our Mosaic Test - a user-based evaluation approach in which evaluation study participants complete an image mosaic of a predetermined target image using the colour-based image retrieval system under evaluation

I Am Error

I Am Error is a platform study of the Nintendo Family Computer (or Famicom), a videogame console first released in Japan in July 1983 and later exported to the rest of the world as the Nintendo Entertainment System (or NES). The book investigates the underlying computational architecture of the console and its effects on the creative works (e.g. videogames) produced for the platform. I Am Error advances the concept of platform as a shifting configuration of hardware and software that extends even beyond its ‘native’ material construction. The book provides a deep technical understanding of how the platform was programmed and engineered, from code to silicon, including the design decisions that shaped both the expressive capabilities of the machine and the perception of videogames in general. The book also considers the platform beyond the console proper, including cartridges, controllers, peripherals, packaging, marketing, licensing, and play environments. Likewise, it analyzes the NES’s extension and afterlife in emulation and hacking, birthing new genres of creative expression such as ROM hacks and tool-assisted speed runs. I Am Error considers videogames and their platforms to be important objects of cultural expression, alongside cinema, dance, painting, theater and other media. It joins the discussion taking place in similar burgeoning disciplines—code studies, game studies, computational theory—that engage digital media with critical rigor and descriptive depth. But platform studies is not simply a technical discussion—it also keeps a keen eye on the cultural, social, and economic forces that influence videogames. No platform exists in a vacuum: circuits, code, and console alike are shaped by the currents of history, politics, economics, and culture—just as those currents are shaped in kind

Pixelating Vector Art

Pixel art is a popular style of digital art often found in video games. It is typically characterized by its low resolution and use of limited colour palettes. Pixel art is created manually with little automation because it requires attention to pixel-level details. Working with individual pixels is a challenging and abstract task, whereas manipulating higher-level objects in vector graphics is much more intuitive. However, it is difficult to bridge this gap because although many rasterization algorithms exist, they are not well-suited for the particular needs of pixel artists, particularly at low resolutions. In this thesis, we introduce a class of rasterization algorithms called pixelation that is tailored to pixel art needs. We describe how our algorithm suppresses artifacts when pixelating vector paths and preserves shape-level features when pixelating geometric primitives. We also developed methods inspired by pixel art for drawing lines and angles more effectively at low resolutions. We compared our results to rasterization algorithms, rasterizers used in commercial software, and human subjects---both amateurs and pixel artists. Through formal analyses of our user study studies and a close collaboration with professional pixel artists, we showed that, in general, our pixelation algorithms produce more visually appealing results than na\"{i}ve rasterization algorithms do

Exploring the effectiveness of similarity-based visualisations for colour-based image retrieval

In April 2009, Google Images added a filter for narrowing search results by colour. Several other systems for searching image databases by colour were also released around this time. These colour-based image retrieval systems enable users to search image databases either by selecting colours from a graphical palette (i.e., query-by-colour), by drawing a representation of the colour layout sought (i.e., query-by-sketch), or both. It was comments left by readers of online articles describing these colour-based image retrieval systems that provided us with the inspiration for this research. We were surprised to learn that the underlying query-based technology used in colour-based image retrieval systems today remains remarkably similar to that of systems developed nearly two decades ago. Discovering this ageing retrieval approach, as well as uncovering a large user demographic requiring image search by colour, made us eager to research more effective approaches for colour-based image retrieval. In this thesis, we detail two user studies designed to compare the effectiveness of systems adopting similarity-based visualisations, query-based approaches, or a combination of both, for colour-based image retrieval. In contrast to query-based approaches, similarity-based visualisations display and arrange database images so that images with similar content are located closer together on screen than images with dissimilar content. This removes the need for queries, as users can instead visually explore the database using interactive navigation tools to retrieve images from the database. As we found existing evaluation approaches to be unreliable, we describe how we assessed and compared systems adopting similarity-based visualisations, query-based approaches, or both, meaningfully and systematically using our Mosaic Test - a user-based evaluation approach in which evaluation study participants complete an image mosaic of a predetermined target image using the colour-based image retrieval system under evaluation.EThOS - Electronic Theses Online ServiceGBUnited Kingdo

Materializing interaction

Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, February 2013.Cataloged from PDF version of thesis. "September 2012."Includes bibliographical references (p. 141-148).At the boundary between people, objects and spaces, we encounter a broad range of surfaces. Their properties perform functional roles such as permeability, comfort or illumination, while conveying information such as an object's affordances, composition, or history of use. However, today surfaces are static and can neither adapt to our changing needs, nor communicate dynamic information and sense user input. As technology advances and we progress towards a world imbued with programmable materials, how will designers create physical surfaces that are adaptive and can take full advantage of our sensory apparatus? This dissertation looks at this question through the lens of a three-tier methodology consisting of the development of programmable composites; their application in design and architecture; and contextualization through a broader material and surface taxonomy. The focus is placed primarily on how materials and their aggregate surface properties can be used to engage our senses. A series of design probes and four final implementations are presented, each addressing specific programmable material and surface properties. Surflex, Sprout 1/O, and Shutters are continuous surfaces which can change shape to modify their topology, texture and permeability, and Six-Forty by Four-Eighty is a light-emitting display surface composed of autonomous and reconfigurable physical pixels. The technical and conceptual objectives of these designs are evaluated through exhibitions in a variety of public spaces, such as museums, galleries, fairs, as well as art and design festivals. This dissertation seeks to provide contributions on multiple levels, including: the development of techniques for the creation and control of programmable surfaces; the definition of a vocabulary and taxonomy to describe and compare previous work in this area; and finally, uncovering design principles for the underlying development of future programmable surface aesthetics.by Marcelo Coelho.Ph.D

Algorithms for the reconstruction, analysis, repairing and enhancement of 3D urban models from multiple data sources

Over the last few years, there has been a notorious growth in the field of digitization of 3D buildings and urban environments. The substantial improvement of both scanning hardware and reconstruction algorithms has led to the development of representations of buildings and cities that can be remotely transmitted and inspected in real-time. Among the applications that implement these technologies are several GPS navigators and virtual globes such as Google Earth or the tools provided by the Institut Cartogràfic i Geològic de Catalunya. In particular, in this thesis, we conceptualize cities as a collection of individual buildings. Hence, we focus on the individual processing of one structure at a time, rather than on the larger-scale processing of urban environments. Nowadays, there is a wide diversity of digitization technologies, and the choice of the appropriate one is key for each particular application. Roughly, these techniques can be grouped around three main families: - Time-of-flight (terrestrial and aerial LiDAR). - Photogrammetry (street-level, satellite, and aerial imagery). - Human-edited vector data (cadastre and other map sources). Each of these has its advantages in terms of covered area, data quality, economic cost, and processing effort. Plane and car-mounted LiDAR devices are optimal for sweeping huge areas, but acquiring and calibrating such devices is not a trivial task. Moreover, the capturing process is done by scan lines, which need to be registered using GPS and inertial data. As an alternative, terrestrial LiDAR devices are more accessible but cover smaller areas, and their sampling strategy usually produces massive point clouds with over-represented plain regions. A more inexpensive option is street-level imagery. A dense set of images captured with a commodity camera can be fed to state-of-the-art multi-view stereo algorithms to produce realistic-enough reconstructions. One other advantage of this approach is capturing high-quality color data, whereas the geometric information is usually lacking. In this thesis, we analyze in-depth some of the shortcomings of these data-acquisition methods and propose new ways to overcome them. Mainly, we focus on the technologies that allow high-quality digitization of individual buildings. These are terrestrial LiDAR for geometric information and street-level imagery for color information. Our main goal is the processing and completion of detailed 3D urban representations. For this, we will work with multiple data sources and combine them when possible to produce models that can be inspected in real-time. Our research has focused on the following contributions: - Effective and feature-preserving simplification of massive point clouds. - Developing normal estimation algorithms explicitly designed for LiDAR data. - Low-stretch panoramic representation for point clouds. - Semantic analysis of street-level imagery for improved multi-view stereo reconstruction. - Color improvement through heuristic techniques and the registration of LiDAR and imagery data. - Efficient and faithful visualization of massive point clouds using image-based techniques.Durant els darrers anys, hi ha hagut un creixement notori en el camp de la digitalització d'edificis en 3D i entorns urbans. La millora substancial tant del maquinari d'escaneig com dels algorismes de reconstrucció ha portat al desenvolupament de representacions d'edificis i ciutats que es poden transmetre i inspeccionar remotament en temps real. Entre les aplicacions que implementen aquestes tecnologies hi ha diversos navegadors GPS i globus virtuals com Google Earth o les eines proporcionades per l'Institut Cartogràfic i Geològic de Catalunya. En particular, en aquesta tesi, conceptualitzem les ciutats com una col·lecció d'edificis individuals. Per tant, ens centrem en el processament individual d'una estructura a la vegada, en lloc del processament a gran escala d'entorns urbans. Avui en dia, hi ha una àmplia diversitat de tecnologies de digitalització i la selecció de l'adequada és clau per a cada aplicació particular. Aproximadament, aquestes tècniques es poden agrupar en tres famílies principals: - Temps de vol (LiDAR terrestre i aeri). - Fotogrametria (imatges a escala de carrer, de satèl·lit i aèries). - Dades vectorials editades per humans (cadastre i altres fonts de mapes). Cadascun d'ells presenta els seus avantatges en termes d'àrea coberta, qualitat de les dades, cost econòmic i esforç de processament. Els dispositius LiDAR muntats en avió i en cotxe són òptims per escombrar àrees enormes, però adquirir i calibrar aquests dispositius no és una tasca trivial. A més, el procés de captura es realitza mitjançant línies d'escaneig, que cal registrar mitjançant GPS i dades inercials. Com a alternativa, els dispositius terrestres de LiDAR són més accessibles, però cobreixen àrees més petites, i la seva estratègia de mostreig sol produir núvols de punts massius amb regions planes sobrerepresentades. Una opció més barata són les imatges a escala de carrer. Es pot fer servir un conjunt dens d'imatges capturades amb una càmera de qualitat mitjana per obtenir reconstruccions prou realistes mitjançant algorismes estèreo d'última generació per produir. Un altre avantatge d'aquest mètode és la captura de dades de color d'alta qualitat. Tanmateix, la informació geomètrica resultant sol ser de baixa qualitat. En aquesta tesi, analitzem en profunditat algunes de les mancances d'aquests mètodes d'adquisició de dades i proposem noves maneres de superar-les. Principalment, ens centrem en les tecnologies que permeten una digitalització d'alta qualitat d'edificis individuals. Es tracta de LiDAR terrestre per obtenir informació geomètrica i imatges a escala de carrer per obtenir informació sobre colors. El nostre objectiu principal és el processament i la millora de representacions urbanes 3D amb molt detall. Per a això, treballarem amb diverses fonts de dades i les combinarem quan sigui possible per produir models que es puguin inspeccionar en temps real. La nostra investigació s'ha centrat en les següents contribucions: - Simplificació eficaç de núvols de punts massius, preservant detalls d'alta resolució. - Desenvolupament d'algoritmes d'estimació normal dissenyats explícitament per a dades LiDAR. - Representació panoràmica de baixa distorsió per a núvols de punts. - Anàlisi semàntica d'imatges a escala de carrer per millorar la reconstrucció estèreo de façanes. - Millora del color mitjançant tècniques heurístiques i el registre de dades LiDAR i imatge. - Visualització eficient i fidel de núvols de punts massius mitjançant tècniques basades en imatges

Colour coded

This 300 word publication to be published by the Society of Dyers and Colourists (SDC) is a collection of the best papers from a 4-year European project that has considered colour from the perspective of both the arts and sciences.The notion of art and science and the crossovers between the two resulted in application and funding for cross disciplinary research to host a series of training events between 2006 and 2010 Marie Curie Conferences & Training Courses (SCF) Call Identifier: FP6-Mobility-4, Euros 532,363.80 CREATE – Colour Research for European Advanced Technology Employment. The research crossovers between the fields of art, science and technology was also a subject that was initiated through Bristol’s Festival if Ideas events in May 2009. The author coordinated and chaired an event during which the C.P Snow lecture “On Two Cultures’ (1959) was re-presented by Actor Simon Cook and then a lecture made by Raymond Tallis on the notion of the Polymath. The CREATE project has a worldwide impact for researchers, academics and scientists. Between January and October 2009, the site has received 221, 414 visits. The most popular route into the site is via the welcome page. The main groups of visitors originate in the UK (including Northern Ireland), Italy, France, Finland, Norway, Hungary, USA, Finland and Spain. A basic percentage breakdown of the traffic over ten months indicates: USA -15%; UK - 16%; Italy - 13%; France -12%; Hungary - 10%; Spain - 6%; Finland - 9%; Norway - 5%. The remaining approximate 14% of visitors are from other countries including Belgium, The Netherlands and Germany (approx 3%). A discussion group has been initiated by the author as part of the CREATE project to facilitate an ongoing dialogue between artists and scientists. http://createcolour.ning.com/group/artandscience www.create.uwe.ac.uk.Related papers to this research: A report on the CREATE Italian event: Colour in cultural heritage.C. Parraman, A. Rizzi, ‘Developing the CREATE network in Europe’, in Colour in Art, Design and Nature, Edinburgh, 24 October 2008.C. Parraman, “Mixing and describing colour”. CREATE (Training event 1), France, 2008