Real-time Product Quality Inspection Monitoring System using Quadratic Distance and Level Classifier

Automated product quality inspection has become a very important process in industries to maintain high product efficiency. This paper presents a real-time product quality inspection monitoring system for beverages product. The proposed system used Internet Protocol (IP) camera to capture the image of the bottle through computer network in order to inspect color concentration and water level of the bottle. Quadratic distance technique is applied for color concentration analysis based on a combination of Red, Green and Blue (RGB) histogram. The vertical and horizontal coordinates technique is used to inspect three conditions of the level, which are passed, overfill and underfill. The proposed system has achieved 100% accuracy using 246 samples

Drawing in the margins : identity and subjectivity in contemporary autobiographical comics

[À l'origine dans / Was originally part of : Thèses et mémoires - FAS - Département d'études anglaises]Mon projet de thèse démontre comment le genre de la bande dessinée peut être mobilisé de façon à déstabiliser les idéologies identitaires dominantes dans un contexte autobiographique. À partir de théories contemporaines de récits de vie et de leurs emphase sur la construction du sujet au travers du processus autobiographique, j’explore les façons par lesquelles les propriétés formelles de la bande dessinée permettent aux artistes féminines et minoritaires d’affirmer leurs subjectivités et de s’opposer aux idéaux hégémoniques reliés à la représentation du genre, du traumatisme, de la sexualité, de l’ethnicité, et du handicap, en s’auto-incarnant à même la page de bande dessinée. Par une analyse visuelle formelle, ma thèse prouve que les esthétiques hyper-personnelles du dessin à la main découlant d’une forme ancrée dans l’instabilité générique et le (re)mixage continu des codes verbaux et visuels permettent aux artistes de déstabiliser les régimes de représentation conventionnels dans une danse complexe d’appropriation et de resignification qui demeure toujours ouverte à la création de nouveaux sens. Suite à l’introduction, mon second chapitre explique la résistance de Julie Doucet par rapport aux plaisirs visuels découlant de la contemplation des femmes dans la bande dessinée par son utilisation du concept originairement misogyne de la matérialité féminine grotesque comme principe génératif à partir duquel elle articule une critique de la forme et du contenu des représentations normatives et restrictives du corps féminin. Le troisième chapitre considère la capacité de la bande dessinée à représenter le traumatisme, et se penche sur les efforts de Phoebe Gloeckner visant à faire face aux abus sexuels de son enfance par l’entremise d’un retour récursif sur des souvenirs visuels fondamentaux. Le chapitre suivant maintient que la nature sérielle de la bande dessinée, sa multimodalité et son association à la culture zine, fournissent à Ariel Schrag les outils nécessaires pour expérimenter sur les codes visuels et verbaux de façon à décrire et à affirmer le sens identitaire en flux de l’adolescent queer dans sa quadrilogie expérimentale Künstlerroman. Le cinquième chapitre suggère que l’artiste de provenance Libanaise Toufic El Rassi utilise la forme visuelle pour dénoncer les mécanismes générateurs de préjugés anti-Arabes, et qu’il affirme son identité grâce au pouvoir de rhétorique temporaire que lui procure l’incarnation d’un stéréotype connu. Mon dernier chapitre démontre comment Al Davison emploie la bande dessinée pour mettre en scène des rencontres d’observations dynamiques avec le spectateur implicite pouvant potentiellement aider l’auteur à éviter le regard objectivant généralement associé à la perception du handicap.This dissertation argues that the comics form can be mobilized to destabilize dominant notions of identity in an autobiographical context. Drawing on current theories of life writing that stress the construction of the self through the autobiographical process, it explores how the specific formal properties of comics provide opportunities for women and minority artists to assert subjectivity and contend with hegemonic ideas concerning the representation of gender, trauma, sexuality, ethnicity, and disability through the embodiment of the self on the comics page. Through formal visual analysis, the dissertation shows how the highly personal and hand-drawn aesthetics of a form that thrives on generic instability and the continual (re)mixing of verbal and visual codes allows artists to destabilize conventional representational schemes in a complex dance of appropriation and resignification that is always open to the creation of new meanings. Following the introduction, Chapter 2 shows how Julie Doucet resists the visual pleasure associated with looking at women in comics by using the originally misogynistic concept of grotesque female materiality as a generative principle from where she articulates a critique in both form and content of normative and restricting representations of the female body. Chapter 3 examines the comics form’s ability to depict trauma, and focuses on Phoebe Gloeckner’s attempts to come to terms with childhood sexual abuse through a recursive return to key visual memories. Chapter 4 argues that the form’s serial nature, multimodality, and association with zine culture provides Ariel Schrag with the tools to experiment with visual and verbal codes in order to delineate and assert a sense of the in-flux and queer teenage self in an experimental four-volume Künstlerroman. Chapter 5 argues that Lebanese-born artist Toufic El Rassi uses the visual form to expose the mechanism behind the production of anti-Arab prejudice, and that he asserts personal identity through the temporary rhetorical power afforded by the inhabitation of a known stereotype. Chapter 6 shows how Al Davison employs the comics form to stage dynamic staring encounters with the implied observer that have the potential to help the author elude the objectifying gaze commonly associated with looking at disability

I-Light Symposium 2005 Proceedings

I-Light was made possible by a special appropriation by the State of Indiana. The research described at the I-Light Symposium has been supported by numerous grants from several sources. Any opinions, findings and conclusions, or recommendations expressed in the 2005 I-Light Symposium Proceedings are those of the researchers and authors and do not necessarily reflect the views of the granting agencies.Indiana University Office of the Vice President for Research and Information Technology, Purdue University Office of the Vice President for Information Technology and CI

The Dissolution of the Body Image: Immersive Environments and Sensory Experience

This thesis attempts to provide a reading of the body image in immersive space. Since this is a subject that has not been explored in architectural discourse, it is important to examine the implications of the architectural immersion on the body image. The research first analyzes the term ‘body image’ and uses the theories by Sartre, Lacan, Merleau-Ponty and Schilder to produce an understanding of its formation and development. The body image appears in tandem with subjectivity and this occurs through the identification of what constitutes the self and what is outside the self. This understanding of subject-self and object-other is a result of sensory perception. Synthesizing these theories, the thesis places the body image in the context of the immersive environment arguing that any space that manipulates sensory perception to some degree is immersive- hence the importance and relevance to architecture. The immersive environment, through the affectation of the senses, causes a disorientation and re-orientation of the body image. It is a cyclical process of subjective experience influencing perception and the new perception influencing the subject resulting in a continual evolution of the body image. These concepts are then examined through a range of case studies that span history and media originating from 2-dimensional immersions, progressing to 3-dimensional ones. There has been little evolution in the way that architects take advantage of something that is inherently architectural. Consequently, the precedents expose a lack of development in understanding the implications of immersivity in architecture. The immersive has been and is still being used in ways that harbor on the gimmicky and illusionistic instead of assessing, with subtle nuances, the sensory effects of their spaces on the subjectivity of their users. The thesis provides a critique of architecture’s use of immersion and intends to begin a larger architectural discourse on the body image in the immersive environment

Analysis and Construction of Engaging Facial Forms and Expressions: Interdisciplinary Approaches from Art, Anatomy, Engineering, Cultural Studies, and Psychology

The topic of this dissertation is the anatomical, psychological, and cultural examination of a human face in order to effectively construct an anatomy-driven 3D virtual face customization and action model. In order to gain a broad perspective of all aspects of a face, theories and methodology from the fields of art, engineering, anatomy, psychology, and cultural studies have been analyzed and implemented. The computer generated facial customization and action model were designed based on the collected data. Using this customization system, culturally-specific attractive face in Korean popular culture, “kot-mi-nam (flower-like beautiful guy),” was modeled and analyzed as a case study. The “kot-mi-nam” phenomenon is overviewed in textual, visual, and contextual aspects, which reveals the gender- and sexuality-fluidity of its masculinity. The analysis and the actual development of the model organically co-construct each other requiring an interwoven process. Chapter 1 introduces anatomical studies of a human face, psychological theories of face recognition and an attractive face, and state-of-the-art face construction projects in the various fields. Chapter 2 and 3 present the Bezier curve-based 3D facial customization (BCFC) and Multi-layered Facial Action Model (MFAF) based on the analysis of human anatomy, to achieve a cost-effective yet realistic quality of facial animation without using 3D scanned data. In the experiments, results for the facial customization for gender, race, fat, and age showed that BCFC achieved enhanced performance of 25.20% compared to existing program Facegen , and 44.12% compared to Facial Studio. The experimental results also proved the realistic quality and effectiveness of MFAM compared with blend shape technique by enhancing 2.87% and 0.03% of facial area for happiness and anger expressions per second, respectively. In Chapter 4, according to the analysis based on BCFC, the 3D face of an average kot-mi-nam is close to gender neutral (male: 50.38%, female: 49.62%), and Caucasian (66.42-66.40%). Culturally-specific images can be misinterpreted in different cultures, due to their different languages, histories, and contexts. This research demonstrates that facial images can be affected by the cultural tastes of the makers and can also be interpreted differently by viewers in different cultures