9,344 research outputs found

    Spontaneity and Materiality: What Photography Is in the Photography of James Welling

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    Images are double agents. They receive information from the world, while also projecting visual imagination onto the world. As a result, mind and world tug our thinking about images, or particular kinds of images, in contrary directions. On one common division, world traces itself mechanically in photographs, whereas mind expresses itself through painting.1 Scholars of photography disavow such crude distinctions: much recent writing attends in detail to the materials and processes of photography, the agency of photographic artists, and the social determinants of the production and reception of photographs. As such writing makes plain, photographs cannot be reduced to mechanical traces.2 Yet background conceptions of photography as trace or index persist almost by default, as no framework of comparable explanatory power has yet emerged to replace them. A conception of photography adequate to developments in recent scholarship is long overdue. Rather than constructing such a conception top-down, as philosophers are wont to do, this paper articulates it by examining selected works by James Welling.3 There are several reasons for this: Welling’s practice persistently explores the resources and possibilities of photography, the effect of these explorations is to express a particular metaphysics of the mind’s relation to its world, and appreciating why this metaphysics is aptly expressed by exploring photography requires a revised conception of what photography is. In as much as it provides a framework for a richer interpretation of Welling, the new conception is also capable of underwriting a wide range of critical and historical approaches to photography

    Visual Computing and Machine Learning Techniques for Digital Forensics

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    It is impressive how fast science has improved day by day in so many different fields. In special, technology advances are shocking so many people bringing to their reality facts that previously were beyond their imagination. Inspired by methods earlier presented in scientific fiction shows, the computer science community has created a new research area named Digital Forensics, which aims at developing and deploying methods for fighting against digital crimes such as digital image forgery.This work presents some of the main concepts associated with Digital Forensics and, complementarily, presents some recent and powerful techniques relying on Computer Graphics, Image Processing, Computer Vision and Machine Learning concepts for detecting forgeries in photographs. Some topics addressed in this work include: sourceattribution, spoofing detection, pornography detection, multimedia phylogeny, and forgery detection. Finally, this work highlights the challenges and open problems in Digital Image Forensics to provide the readers with the myriad opportunities available for research

    Silicon nitride metalenses for unpolarized high-NA visible imaging

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    As one of nanoscale planar structures, metasurface has shown excellent superiorities on manipulating light intensity, phase and/or polarization with specially designed nanoposts pattern. It allows to miniature a bulky optical lens into the chip-size metalens with wavelength-order thickness, playing an unprecedented role in visible imaging systems (e.g. ultrawide-angle lens and telephoto). However, a CMOS-compatible metalens has yet to be achieved in the visible region due to the limitation on material properties such as transmission and compatibility. Here, we experimentally demonstrate a divergent metalens based on silicon nitride platform with large numerical aperture (NA~0.98) and high transmission (~0.8) for unpolarized visible light, fabricated by a 695-nm-thick hexagonal silicon nitride array with a minimum space of 42 nm between adjacent nanoposts. Nearly diffraction-limit virtual focus spots are achieved within the visible region. Such metalens enables to shrink objects into a micro-scale size field of view as small as a single-mode fiber core. Furthermore, a macroscopic metalens with 1-cm-diameter is also realized including over half billion nanoposts, showing a potential application of wide viewing-angle functionality. Thanks to the high-transmission and CMOS-compatibility of silicon nitride, our findings may open a new door for the miniaturization of optical lenses in the fields of optical fibers, microendoscopes, smart phones, aerial cameras, beam shaping, and other integrated on-chip devices.Comment: 16 pages, 7 figure

    Baskı altındaki imgelem: Danilo Kis'in Boris Davidovich için bir mezar ve Milan Kundera'nın gülüşün ve unutuşun kitabı

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    Bu çalışma, Stalin etkisinin yoğun olduğu komünist rejimlerdeki Doğu ve Orta Avrupa yazınında kurgusal tarih ve tarihsel kurguya ilişkin karşıt söylemlerin irdelenmesini içerir. Bu bağlamda belirli ideolojik sınırlar içerisindeki gerçekliği dile getiren Danilo Kis’in Boris Davidovich Için Bir Mezar adlı yapıtı ile Milan Kundera’nın Gülüşün ve Unutuşun Kitabı adlı yapıtı arasında karşılaştırmalı bir inceleme yapılmıştır. Yazarın ideolojik baskı altındaki imgelemiyle somutlaştırdığı kurgusal yapıtını incelerken, genel anlamda tarihin, özel anlamda tarihsel doğruluğun önemi, “bellek” ve “unutma” motiflerine yazarın yaklaşımı, görünüşte farklı olsalar da, tarihsel doğruluğu dillendirme aracı olarak benzer anlatı biçimleriyle bireysel öyküler içeren birbirinin bütünleyicisi farklı eleştirel etmenlerin varlığı ve son olarak Kis ve Kundera’nın mizah anlayışlarıyla karşılaşılır. Her iki yazarın mizah anlayışının kara mizahtan düşündüren mizaha, iğneleyici olanından duyguları hedef alanına kadar farklı mizah anlayışına sahip olduklarının ve çeşitli şekillerde insanın ölüm karşısında duyumsadığı acıyı ve yası ortaya koyduklarının ayrımına varılır. İnsanlık tarihinin belirli bir kriz döneminde kaleme alınmış yapıtlar olarak, iki yapıtın yazınsal söylemi ve biçemi arasında benzerlikler olduğu göze çarpar. İzleksel ve anlatısal bir çözümlemeyle, iki yapıt arasındaki benzerlikleri açığa çıkartmak bu çalışmanın temel amacıdır.The present study focuses on fictional history and historical fiction as forms of oppositional discourse in the East-Central European literature during highly Stalinized communist regimes. The study evaluates comparatively Danilo Kiš’ A Tomb for Boris Davidovichand Milan Kundera’s The Book of Laughter and Forgetting, two literary works that express a reality which takes place within restricted ideological limits. While exploring the fictional material reified by the writers’ imagination being under the pressure of ideology, a number of aspects have attracted our critical attention. The first regards the importance of history, in general, and of the historical truth, in particular, as being expressed in the texts of the two writers. The second is represented by the authorial attitude towards the motif of ‘memory and forgetting’. The third concerns the originality of the genre: both novels receive the form of a collection of individual stories consisting of certain narrative lines which, on one hand, are seemingly separate, but, on the other hand, are linked within a given collection as a means of expressing the historical truth. The fourth refers to the characteristic humor of Kiš and Kundera’s novels. The works of the two writers reveal a very complex humor, alternating from black humor to thoughtful, from biting to sentimental, exposing the human experiences of grief, pain of existence and anguish at facing death. These aspects represent the main similarities between the two literary discourses, which were written in a period of crisis in the history of humanity, and, in order to reveal this, the investigation of these aspects in their thematic and narrative perspectives becomes the main aim of this study

    Research program on holographic instrumentation Final report

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    Holographic instrumentation for particle impact studies and interferometer system

    A study of the accuracy of reproduction of measured photography: A method to equate the tonal range of the color transparency to the tonal of the photomechanical reproduction

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    The density range of a color transparency greatly exceeds the density range capacity of reproductions with ink on paper. It is therfore necessary to perform tone compression. Traditionally, tone compression is accomplished by the color separator and involves subjective decisions without input from the photographer. Tone reproduction of the final image is a result of image manipulation by different people in production who are not in communication with each other. Consequently, image quality may suffer and important image detail may be lost as a result of improper estimates
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