Auto-completion of contours in sketches, maps and sparse 2D images based on topological persistence.

We design a new fast algorithm to automatically complete closed contours in a finite point cloud on the plane. The only input can be a scanned map with almost closed curves, a hand-drawn artistic sketch or any sparse dotted image in 2D without any extra parameters. The output is a hierarchy of closed contours that have a long enough life span (persistence) in a sequence of nested neighborhoods of the input points. We prove theoretical guarantees when, for a given noisy sample of a graph in the plane, the output contours geometrically approximate the original contours in the unknown graph

From the Dissolution of the Anima to the End of All Things

In the present paper I analyze the theme of death in Gothic Metal songs such as Forever Failure by Paradise Lost, Everything Dies by Type O Negative, The Hanged Man by Moonspell or Gone with The Sin by HIM. The subthemes I am mostly interested in are the death of anima, the suicide of the self and the universal death. Several Romanian poets – Mihai Eminescu, Iuliu Cezar Săvescu, George Bacovia and D. Iacobescu, who all have in common the pursuit of nihilism – used death to enhance their nihilist poetical universe. I will trace the aforementioned subthemes in some of their most spectacular poems

The Cowl - Golden Anniversary Edition - Fall, 1985

The Cowl - student newspaper of Providence College. Golden Anniversary Edition - Fall, 1985. 20 pages

Spartan Daily, September 13, 1996

Volume 107, Issue 11https://scholarworks.sjsu.edu/spartandaily/8867/thumbnail.jp

Spartan Daily, November 18, 1982

Volume 79, Issue 56https://scholarworks.sjsu.edu/spartandaily/6970/thumbnail.jp

This Planet Has Four Walls: How early Doctor Who narrative was influenced by techniques and technology to overcome the confines of studio recording

"The Dalek Invasion of Earth" (1965) marked a turning point in the series. Not only did it see the first change to the line-up of regular characters (Susan Foreman, played by Carole Ann Ford, left at the conclusion of the story) but it was the first to feature material filmed on location. Up until this point, all episodes had been filmed entirely within the confines of a studio. This paper will examine the relationships and effects between narratives, production techniques and technology in this studio-bound era; how the programme makers told stories that in terms of direction, reach, and geography, far outstripped the limiting four walls of the studio space. In addition, the paper will discuss how production techniques developed to allow creativity to flourish in order to escape the trappings of the studio. Techniques such as forced perspective, front and back projection, and lighting will be discussed, along with how they’ve been employed to assist the telling of the story in a number of Doctor Who episodes, including "An Unearthly Child", "The Daleks", "Marco Polo," and "The Keys of Marinus". The central question to be explored is the idea that there is an inverse relationship between television production technology, and the creativity and ambition of geography in the narratives. While one grows, the other dies. Whilst television has become more technically adept, what has been lost? On what levels has moving beyond the studio been to the detriment of the medium

‘Don't let him take Britain back to the 1980s’: Ashes to Ashes as postfeminist recession television

This article interrogates postfeminism and recessionary discourse in the time travel police series Ashes to Ashes (BBC, 2008-2010). Viewing the series as an early example of ‘recession television,’ it explores how the resident gender discourse of postfeminism established in the pre-recession first series, and attendant cultural priorities, shifted over time in tandem with the onset of recession, following the 2008 global financial crisis, and in line with tendencies of emergent recessionary media culture. In early episodes it over-determines the characterization of female detective protagonist Alex Drake as a postfeminist subject, drawing her to well-worn cultural scripts of femininity. Later this gives way to the discursive centralization of her boss, Gene Hunt, already an iconic figurehead of recidivist masculinity from the earlier Life on Mars (BBC, 2006-2007), one of several gendered responses to the drastically changed economic environment in which the series was produced and received

Spartan Daily, April 25, 1989

Volume 92, Issue 56https://scholarworks.sjsu.edu/spartandaily/7846/thumbnail.jp

Spartan Daily, December 10, 1997

Volume 109, Issue 69https://scholarworks.sjsu.edu/spartandaily/9216/thumbnail.jp