Every shade is a light

Künstler_innen stehen zwei grundlegenden Problemen gegenüber, wenn sie die Tonwerte einer natürlichen Szene in ein Gemälde übersetzen wollen. Zuerst müssen sie mit dem Phänomen der Helligkeitskonstanz umgehen, also der Tatsache dass wir Tonwerte nicht objektiv wahrnehmen, sondern diese von unserem visuellen System interpretiert werden, und zweitens müssen sie die den hohen Tonwertumfang komprimieren, sodass dieser auf der Leinwand, dargestellt werden kann. Wenn Künstler_innen eine natürliche Szene abbilden wollen, müssen sie ein Bild schaffen, das dem Bild der natürlichen Szene auf der Netzhaut nahe kommt, damit uns das Bild korrekt erscheint. In Bezug auf Helligkeiten müssen sie die Wirkung der Helligkeitskonstanz unterbinden, entweder, indem sie auf frühe Verarbeitungsstufen des Perzepts zugreifen können, oder indem sie ihre eigenen wahrnemungsgebundenen Fehler in einem zweiten Schritt zu korrigieren vermögen. Tatsächlich ist bekannt, dass Künstler_innen bessere Wahrnehmungsfähigkeiten haben, z.B. schnitten sie besser bei einem Formkonstanz-Test ab (Cohen & Jones, 2008). Wenn Künstler_innen tatsächlich die Wirkung der Helligkeitskonstanz über Prozesse der Wahrnehmung abwenden können, so sollten sie besser darin sein, Helligkeiten objektiv zu beurteilen. Um diese Annahme zu testen, nahmen Testpersonen an einer Aufgabe teil, in welcher sie Helligkeiten beurteilen sollten. Sie mussten entscheiden, welcher von zwei Stimuli einen größeren Unterschied zeigte: einer, der einen tatsächlichem Kontrast beinhaltete oder einer, welcher lediglich die Illusion eines Kontrasts bot. Die Höhe der jeweiligen echten oder illusiorischen Kontraste variierte. Nicht-Künstler_innen (n=11) und Künstler_innen (n=11) zeigten keinen Unterschied in ihren Fähigkeiten der Beurteilung von Helligkeiten. Zusätzlich zeigte sich kein Zusammenhang zwischen der künstlerischen Erfahrung und der Fähigkeit zur Helligkeitenbewertung. Die Ergebnisse weisen nicht daraufhin, dass Künstler_innen die Helligkeitenkonstanz durch spezielle Wahrnehmungsprozesse überwinden können. In einer zweiten Studie präsentiere ich die Strategien zur Helligkeitenkomprimierung einer Gruppe von Maler_innen (n=10). Alle diese Strategien fußen in der selben natürlichen Szene, welche unter den selben Lichtverhältnissen gemalt wurde. Ich zeige ein Modell, welches die umfassenden Helligkeitskomprimierungs- Strategien eines Malers oder einer Malerin veranschaulicht – der “artist’s look-up table” (Graham, 2009). Dieser scheint grundlegende stilistische Komponenten 81 erfassen zu können. Unterscheidliche “artist’s look-up tables” scheinen sich systematisch über verschiedene Techniken hinweg zu unterscheiden (z.B. Aquarell oder Tusche). In dem Maße wie manche Maler_innen oder Gruppen von Gemälden durch eine gewisse Helligkeiten-Komprimierungs-Strategie beschreibbar sind, ist der “artist’s look-up table” ein nützliches Werkzeug in der Stilforschung oder auch in Autor_innenschaftsdebatten.Artists face two major problems when they render luminances from a natural scene onto a painting. First, they have to overcome lightness constancy, i.e. the fact that we don´t perceive luminances objectively but rather “interpret” them, and second, they must compress the high dynamic range luminances so that they fit on the restricted range the canvas presents. When artists render a natural scene, they must create an image, which is close to the retinal image of the scene in order to appear correct to us. In terms of luminances, they must therefore undo lightness constancy, either by accessing early visual processing stages, or by correcting their own perceptual errors in a second step. Indeed we find evidence for better perceptual abilities in artists, like better performance on a shape constancy task (Cohen & Jones, 2008). If artists were able to overcome lightness constancy perceptually, they should also be better at judging luminances objectively. To test this assumption, subjects were involved in a luminance judgment test. They had to choose whether real contrast stimuli or illusory contrast stimuli at varying contrast levels showed greater luminance difference. Non-artists (n=11) and artists (n=11) showed no difference in their luminance judgmental abilities; furthermore, artistic expertise was not correlated to luminance judgmental abilities, suggesting that artists when painting, cannot undo lightness constancy through more accurate perceptual processes. In a second study I present a group of painter´s (n=10) luminance compression strategies, all originating in the same natural scene, which was painted under the same lighting conditions. I show a model that visualizes a given artist´s global luminance compression strategy — the “artist’s look-up table” – which seems to reflect fundamental stylistic components (Graham, 2009). The different “Artist’s look-up tables” appear to vary systematically across different techniques (such as aquarelle or ink painting). To the degree that certain luminance compression strategies are also a fundamental property of a given painter or grouping of paintings, the “Artist’s look-up table” can be a helpful tool in authorship debates and in stylometry

"Eistee oder Cola?" Partizipationsmöglichkeiten in Wiener Jugendzentren und Jugendtreffs

Diese Arbeit befasst sich mit dem Thema „Partizipation und Jugendliche“ und geht der Frage nach, wie Jugendliche ihre Partizipationsmöglichkeiten in Jugendzentren und Jugendtreffs selbst wahrnehmen, wie sie diese nutzen und beurteilen. Dabei wird erläutert was Jugendliche dazu motiviert, sich an (Partizipations)angeboten zu beteiligen, welche Bedingungen sie diesbezüglich als förderlich wahrnehmen und inwiefern sie das Gefühl haben, Dinge selbst in die Hand nehmen und bestimmen beziehungsweise mitentscheiden zu können. Neben einer Vorstellung des Handlungsfeldes der Offenen Jugendarbeit erläutert diese Arbeit inwiefern Partizipation in die Arbeitsmethoden der Jugendarbeit einfließt und diese in der Praxis, im Jugendzentrum umgesetzt werden. Die Sicht der Jugendlichen steht dabei als ExpertInnenwissen im Zentrum meines Interessens.This paperwork deals with the topic „participation and youth“ and adresses the question, how adolescents experience their opportunies of participation provided in youth centres. It shows in what ways adolescents use and how they assess this opportunities. It also illustrates how they evaluate different approaches to participation, under which terms and conditions participation is attractive to them and how young people assess their options of participation. Furthermore it shows to what extent adolescents have the feeling to be able to take part in decision - making processes. Besides a presentation of the field of open youth work this paper presents in what ways and to what extent participation influences the pedagogic approaches and methods of child and youth work and how participation is implemented in practice, in particular in youth centres. Young people are getting a voice – their perceptions and their expertise are thereby the main focus of my interest

Proceedings of the EAA Spatial Audio Signal Processing symposium: SASP 2019

International audienc

Border: A Live Performance Based on Web AR and a Gesture-Controlled Virtual Instrument

International audienceRecent technological advances, such as increased CPU/GPU processing speed, along with the miniaturization of devices and sensors, have created new possibilities for integrating immersive technologies in music and performance art. Virtual and Augmented Reality (VR/AR) have become increasingly interesting as mobile device platforms, such as up-to-date smartphones, with necessary CPU resources entered the consumer market. In combination with recent web technologies, any mobile device can simply connect with a browser to a local server to access the latest technology. The web platform also eases the integration of collabora-tive situated media in participatory artwork. In this paper , we present the interactive music improvisation piece 'Border,' premiered in 2018 at the Beyond Festival at the Center for Art and Media Karlsruhe (ZKM). This piece explores the interaction between a performer and the audience using web-based applications-including AR, real-time 3D audio/video streaming, advanced web audio, and gesture-controlled virtual instruments-on smart mobile devices

How do medical students value health on the EQ-5D? Evaluation of hypothetical health states compared to the general population

<p>Abstract</p> <p>Background</p> <p>Medical students gain a particular perspective on health problems during their medical education. This article describes how medical students value 10 hypothetical health states using the EQ-5D compared to the general population.</p> <p>Methods</p> <p>Based on a sample of 161 medical students (male: 41%) we compared valuations of 10 hypothetical EQ-5D health states collected in face to face interviews with the valuations of the general population. Self-reported health on the EQ-5D was also collected.</p> <p>Results</p> <p>Every third health state was valuated higher by the medical students compared to data of the general population. The differences were independent of the severity of the hypothetical health state. Concerning the self-reported health, the majority of the students (66%) reported no problems in the five EQ-5D domains (EQ-5D VAS M = 87.3 ± 9.6 SD). However, when compared to an age-matched sample the medical students show significantly more problems in the area of pain/discomfort and anxiety/depression.</p> <p>Conclusion</p> <p>Medical students have a tendency to value health states higher than the general public. Medical professionals should be continuously aware that their assessment of the patients health state can differ from the valuations of the general population.</p

A 3D real time rendering engine for binaural sound reproduction

Proceedings of the 9th International Conference on Auditory Display (ICAD), Boston, MA, July 7-9, 2003.A method of computationally efficient 3D sound reproduction via headphones is presented using a virtual Ambisonic approach. Previous studies have shown that incorporating head tracking as well as room simulation is important to improve sound source localization capabilities. The simulation of virtual acoustic space requires to filter the stimuli with head related transfer functions (HRTFs). In time-varying systems this yields the problem of high quality interpolation between different HRTFs. The proposed model states that encoding signals into Ambisonic domain results in time-invariant HRTF filters. The proposed system is implemented on a usual notebook using Pure Data (PD), a graphically based open source real time computer music software

The Past Has Ears (PHE): XR Explorations of Acoustic Spaces as Cultural Heritage

Hearing is one of our most pervasive senses. There is no equivalent to closing our eyes, or averting our gaze, for the ears. When we think about great architectural achievements in European history, such as ancient amphitheatres or Gothic cathedrals, their importance is strongly tied to their acoustic environment. The acoustics of a heritage site is an intangible consequence of the space's tangible construction and furnishings. Inspired by the project's namesake (Phe, for the constellation Phoenix), and the relatively recent res at Cathedrale de Notre Dame de Paris and Teatro La Fenice opera hall, the PHE project focuses on virtual reconstruction of heritage sites, bringing them back from the ashes. In addressing the intangible acoustic heritage of architectural sites, three main objectives have been identied for this research project: Documentation, Modelling, and Presentation. In parallel, three heritage sites are participating as case studies: Tindari Theatre (IT), Notre-Dame de Paris Cathedral (FR), and The Houses of Parliament (UK). The acoustics of a space is immersive, spatial, and due to the nature of auditory perception egocentric, in contrast to visual perception of an object, which can be observed from outside". Consequently, presentation methods for communicating acoustic heritage must represent the spatially immersive and listener-centric nature of acoustics. PHE will lead development of a museum grade hardware/software prototype for the presentation of immersive audio experiences adaptable to multiple platforms, from on-site immersive speaker installations, to mobile XR via smartphone applications

Transmitter and receiver processing specification for a unified ULE security extension

The Unidirectional Lightweight Encapsulation (ULE) protocol has been defined for efficient transport of IPv4/6 and other protocols over the MPEG-2 Transport Stream (TS). The proliferation of this technology on the mass market may benefit from a security solution protecting against potential threats such as eavesdropping, as well as masquerading, modification of messages, and replay attacks, similar to 802.11 security. A unified ULE security extension header format has been proposed previously by the authors. This paper discusses in detail the processing required for transmitters and receivers supporting this security extension for ULE

Structural and Electrochemical Properties of Physisorbed and Chemisorbed Water Layers on the Ceramic Oxides Y2O3, YSZ, and ZrO2

A combination of operando Fourier transform infrared spectroscopy, operando electrochemical-impedance spectroscopy, and moisture-sorption measurements has been exploited to study the adsorption and conduction behavior of H2O and D2O on the technologically important ceramic oxides YSZ (8 mol % Y2O3), ZrO2, and Y2O3. Because the characterization of the chemisorbed and physisorbed water layers is imperative to a full understanding of (electro-)catalytically active doped oxide surfaces and their application in technology, the presented data provide the specific reactivity of these oxides toward water over a pressure-and-temperature parameter range extending up to, e.g., solid-oxide fuel cell (SOFC)-relevant conditions. The characteristic changes of the related infrared bands could directly be linked to the associated conductivity and moisture-sorption data. For YSZ, a sequential dissociative water (“ice-like” layer) and polymeric chained water (“liquid-like”) water-adsorption model for isothermal and isobaric conditions over a pressure range of 10-5 to 24 mbar and a temperature range from room temperature up to 1173 K could be experimentally verified. On pure monoclinic ZrO2, in contrast to highly hydroxylated YSZ and Y2O3, a high surface concentration of OH groups from water chemisorption is absent at any temperature and pressure. Thus, the ice-like and following molecular water layers exhibit no measurable protonic conduction. We show that the water layers, even under these rather extreme experimental conditions, play a key role in understanding the function of these materials. Furthermore, the reported data are supposed to provide an extended basis for the further investigation of close-to-real gas adsorption or catalyzed heterogeneous reactions.(VLID)1371561Accepted versio