The advancement of foundation models have opened up new possibilities in deep learning. These models can be adapted to new tasks and unseen domains from minimal or even no training data, making them well-suited for applications where labelled data is scarce or costly to collect. Lack of data has meant that deep learning for change detection in sonar imagery has not been used. Reliable methods for change detection of underwater environments is critical for a range of fields such as marine research and object search. Previous work in change detection for sonar imagery focus on non-deep learning methods. In this paper, we explore the use of a foundation model (Segment Anything Model) for performing change detection in imagery collected with synthetic aperture sonar (SAS). This thesis is the first case of applying Segment Anything Model to change detection in SAS imagery. The proposed method segments bi-temporal images, and change detection is then performed on the segments. In addition to a set of bi-temporal images containing real change, the model is also tested on a set of synthetic images. The proposed method shows promising results on both a real and synthetic data set.

At the heart of this paper lies the perennial problem of the legitimacy of tribunals judging war criminals and the role of public imagery in countering Victor’s Justice challenges. The paper follows along the paths of components of the cultural transfer from Nuremberg and Tokyo international tribunals (1946– 1948) for the prosecution of war criminals post World War II through the Eichmann trial in Jerusalem (1961) to the International Criminal Tribunal for the former Yugoslavia in The Hague (1993), focusing on two specific ‘carriers’ of this cultural transfer: “Law” and “Architecture.” By Law, I mean the copying and re-application of similar legal procedures, the active participation of certain people within two of the three instances, and even the carrying forward of physical pieces of evidence from one trial to another. By Architecture, I mean the actual construction of the trial chamber in all three places. The location of the judges’ bench, the defendants’ dock, the witnesses stand, and the interrelational architectural flow which became characteristic of each of these Lieux de Justice. In terms of public imagery, important counter measures to Victor’s- Justice claims also included the ample facilitation of journalist coverage, the provision of full translation services for the defendants (countering claims of linguistic non-misunderstanding), and the holding of the defendants in humane conditions of incarceration, in a somewhat deliberate juxtaposing countenance to their own crimes which habitually included concentration camps and harshly inhumane incarceration facilities. The paper concludes with a recalibration of Hannah Arendt’s mistaken claim vis-à-vis Eichmann, in contrast to her important understandings concerning the banality of evil.

Digital soil mapping (DSM) provides a cost-effective approach for characterizing the spatial variation in soil properties which contributes to inconsistent productivity. This study utilized Random Forest (RF) models to facilitate DSM of apparent soil electrical conductivity (ECa), estimated cation exchange capacity (CEC), and soil organic matter (SOM) in agricultural fields across the Lower Mississippi Alluvial Valley. The RF models were trained and tested using in situ collected ECa, CEC, and SOM data, paired with a bare soil composite of Landsat 9 imagery. Field data and imagery were collected during the study period of 2019 through 2023. Models ranged from fair to moderate in accuracy (R2 from 0.27 to 0.68). The contrasting performance between CEC/SOM and ECa models is likely due to the dynamic nature of soil properties. Accordingly, models could have benefitted from covariates such as soil moisture, topography, and climatic factors, or higher spectral resolution imagery, such as hyperspectral.

In this qualitative, interpretive study a new and promising imagery technique, called Wertimagination (WIM®) [Value-Oriented Imagery] was researched. It was developed by the logotherapist Uwe Boeschemeyer in Germany. At the main focus of this study are the psychotherapeutic work experiences of logotherapists applying WIM®. Their perceptions with regard to Wertimagination’s potencies, limitations and its overall contribution to Logotherapy are explored. Eight semi-structured expert interviews were conducted with German logotherapists offering WIM® at their practice. The interview contents are analysed and compared with supplementing perspectives: with Wertimagination experiences reported by other (logo)therapists, by clients and by the developer of the method (Boeschemeyer), extracted from the existing body of literature. The results show that Value-Oriented Imagery by all three researched parties – (logo)therapists, clients and its developer – is experienced to be a high potential logotherapeutic, salutogenetic (resources-oriented) approach contributing inter alia towards a person’s inner meaning finding, selfacceptance and trust in life. / Psychology / M.A. (Psychology)

This thesis is a critical examination of the poetry of S. M. Bums-Ncamashe. In his poetry Bums-Ncamashe handles poems of different categories; namely praise poetry, elegiac poetry, didactic poetry and protest poetry. He also employs a number of devices that determine amongst others, the form and imagery of his poetry. They are also used to add clarity to the meaning of his poetry. All this is discussed in the chapters numerated below: Chapter one outlines the basic guidelines to be followed in this study. It presents the aim of the study, scope of the work and method of research. A definition of the concept poetry is also provided in this chapter. The biography of Bums-Ncamashe and the influence of his background on his poetry are also part of this first chapter. Chapter two discusses the characteristics of Bums-N camashe' s praise poetry and the functions this poetry fulfils. Chapter three is a discussion ofBums-Ncamashe's elegiac, didactic and protest poetry. Chapter four discusses the devices that determine the form ofBums-Ncamashe's poetry. These include repetition, contrast, compounding, ideophones, and interjectives. Chapter five concentrates on imagery and other aspects of Bums-Ncamashe's poetry. Imagery is discussed from the viewpoint of simile, metaphor, personification and symbolism. Also included in this chapter is euphemism, hyperbole, idiomatic expressions, humour, satire and adaptation. Chapter six is a concluding chapter in which some findings and recommendations from the entire study are reflected upon. / African Languages / D.Litt. et Phil. (African Languages)

A wide variety of aspects of Machaka's poetry was treated. His poetry which is meaningful when viewed against his traditional culture brings inspiration and a formal mode of literary expression. Death was never accepted by the Tlokwa as an end to life. Machaka has succeeded in blending the ancestral worship with Christian faith. He has used euphemism to modify pain. He makes use of imagery to execute cruelty and bluntness of death. Machaka's protest poetry echoes the same protest of those of other protesters. These refer to the injustice the Blacks experienced from the white regime prior to independence. From his love poems, it is noticed that Machaka is a great lover. When he is in love, he becomes a slave. Machaka uses traditional and modem praise poetry techniques. This made him manage to produce poetry which made a definite impact on Northern Sotho literature and contributed to its depth / African Languages / M.A. (African languages)

This dissertation deals with the poetry of C.S.Z. Ntuli, with specific reference to themes, diction and form. The introductory chapter deals with the aim of study, the author's biographical background, the development of modern Zulu poetry, the state of critical studies in modern Zulu poetry, the scope of study and the method of approach. Chapter 2 examines the main themes manifest in the poetry of Ntuli. Chapter 3 is devoted to diction, with particular reference to imagery, compound words, ideophones and deideophonic derivatives. Comment is also made on ways in which these amplify the theme in selected poems. Chapter 4 discusses outstanding formal features and techniques including stanza formation, refrains, alliteration, parallelism, linking and rhythm. Chapter 5 concludes the study by giving observations about the quality of Ntuli's contribution to modern Zulu poetry, and by exploring some possibilities regarding future studies on the poetry of Ntuli / African Languages / M. A. (African languages)

Thesis (MA (VA))--Stellenbosch University, 2012. / ENGLISH ABSTRACT: This study offers a critical exploration of the ways in which Jean Baudrillard’s theory of the simulacrum is ‘true’ or viable as a theory of representation in contemporary visual culture, with particular reference to digital imaging technologies. Using a selection of images and texts dating from the Renaissance to present day, I trace issues of subjectivity and self-reflexivity in modern image culture, questioning the extent to which digital imaging technology and information substantially departs from the early modern devotion to naturalistic representation (verisimilitude) as a reflection of knowledge and truth in the modern world. I offer a critique of the simulacrum theory that concerns two principle issues: firstly that simulacrum is a strictly self-reflexive operation and not an effect of digital imaging technology as Baudrillard claims; and secondly, that simulacrum necessitates an underlying dualist worldview in order to exist. With reference to the use of metaphor in magical realist texts and visual art, I draw the argument together with a discussion of my own art practice, particularly a body of work that takes Etienne van Heerden’s novel Toorberg (1986) as a starting point. The examples I refer to serve as visual evidence in support of my speculative philosophical argument against hyperreality; that is, how the simulacral nature of metaphor (as operating within a poststructuralist model of the sign) functions a critical aspect of a self-reflexive individual consciousness; and argues for subjectivity itself as inherently bound up in the operation of simulacrum. / AFRIKAANSE OPSOMMING: Hierdie studie is ’n kritiese ondersoek na die wyse waarop Jean Baudrillard se teorie van die simulacrum ‘waar’ of grondig is as ’n teorie van representasie in visuele kultuur, met spesifieke verwysing na digitale beeldtegnologie. ‘n Verskeidenheid beelde en tekste (van die Renaissance tot die moderne era) word betrek ten einde kwessies rondom subjektiwiteit en selfrefleksiwiteit in moderne beeldkultuur te ondersoek. Die mate waarin digitale beeldtegnologie en inligting merkbaar afwyk van ‘n vroeë moderne toegewydheid aan naturalistiese representasie (verisimilitude) as ‘n refleksie van kennis en waarheid in die moderne wêreld, word vervolgens krities ondersoek. Baudrillard se simulacrum-teorie word krities beoordeel: in die eerste plek is die simulacrum ‘n streng selfrefleksiewe proses en nie ‘n effek van digitale beeldtegnologie, soos Baudrillard beweer nie; en tweedens veronderstel, of noodsaak die simulacrum ‘n onderliggende dualistiese wêreldbeeld ten einde geldig verklaar te kan word. Met verwysing na die gebruik van metafoor in magies realistiese tekste en visuele kuns, word die argument saamgevat deur ’n bespreking van my persoonlike kunsprojek, vernaam ’n versameling werk wat Etienne van Heerden se roman Toorberg (1986) as verwysingspunt gebruik. Die voorbeelde waarna ek verwys ondersteun my spekulatiewe filosofiese argument teen hiperrealiteit (hyperreality); hoe die simulakrale (simulacral) aard van metafoor (soos werksaam binne ’n poststrukturalistiese model van die ‘teken’) as ’n kritiese aspek van selfrefleksiewe individuele bewussyn funksioneer. Ek argumenteer vervolgens dat subjektiwiteit sigself inherent deel is van die werking van simulacrum.

Liquefaction-induced deformations associated with lateral spreading represent a significant hazard that can cause substantial damage during earthquakes. The ability to accurately predict lateral-spreading displacement is hampered by a lack of field data from previous earthquakes. Remote sensing via optical image correlation can fill this gap and provide data regarding liquefaction-induced lateral spreading displacements. In this thesis, deformations from three earthquakes (2010 Darfield, February 2011 Christchurch, and 2011 Tohoku Earthquakes) are measured using optical image correlation applied to 0.5-m resolution satellite imagery. The resulting deformations from optical image correlation are compared to the geologic conditions, as well as field observations and measurements of liquefaction. Measurements from optical image correlation are found to have a precision within 0.40 m in all three cases, and results agree well with field measurements. / text

在世界文學發展過程中，有一種顯而易見、又不容忽視的現象：即某一種典型意象，在不同主題的文學作品中反復出現；某一種表現手法，在不同時代的文學作品中被有意無意的再現。即使在一些經典性的文學作品中，深刻的思想、錯綜複雜的感情，總表現在有跡可循的模式或象徵符號中，成為人類深層的經驗圖式，隱含著超越時空的永恆價值。其實，這些主題早就存在於人類生活中甚至神話傳說，並成為文藝創作特別是文學意象和象徵的一個重要泉源。在中國文學作品中普遍可見的「桃」，就是這種象徵符號。它的花開在文學的莖脈中，它的果結在信仰的枝枒上，它的根更是深深扎進民俗的土壤□。它的繁衍，不僅是初民的食物來源之一，也是人們寄寓美好奇麗想像的對象；它的成長，不僅須經歷四時寒暑風雨，也經受了千年來變動不居的文化風暴。舉凡個人的愛情、婚姻、生子與壽夭，團體的禳災、辟邪、除禍與祝禱，這些眾所熟悉的象徵與作用，都是它一圈又一圈向外擴張、深深烙印在人類文化中的年輪。本研究即試圖從神話古籍以及中國少數民族創世傳說等神話材料著手，抽繹出初民在桃身上所寄託的無意識心理，並參驗相關文學作品為佐證，檢視桃意象在中國文學中的象徵文化意涵，以呈現其跨越時空持續存在的背後力量。 / In the development of world literature, there is one phenomenon that is apparent and cannot be ignored: certain typical imagery repeatedly appears in the literary works among various topics; certain way of expressing ideology has been intentionally or unintentionally re-used in the literary works at different times in the history. Even in some classic literary works, profound thoughts and intertwining and complicate emotions are always embedded in the traceable models or symbolic symbols. This approach has become an empirically mental imagery of humankind and implicitly carried the everlasting value that transcends time and space. In fact, these themes have long been existed in the lives of humankind even in the mythology and fables. They have also become very important sources of literary invention, especially in the literary imagery and symbolization. "Peach", commonly seen in Chinese literary works, is a symbol of this symbolization. It blooms on the stem of literature, is ripe on burgeon of belief, and deeply roots in the soil of folk customs. Its gradual increase in number is not only a source of food for ancient people, but also has become the object which people will relate their wishes and imagination to. Its growth not only needs to go through four seasons, cold, hot, wind and rain, but also it has to withstand the cultural storms that are constantly changing and unstable over thousands of years. These well-known symbolizations and effects such as personal affection, marriage, delivery, birthday and death, group's praying for eliminating catastrophe, driving off evils, avoiding disasters, and benison, are all its continuous extensions and they are deeply imprinted in the growth rings in the culture of humankind. This study attempts to start with studying the literature including mythological classic books and world creation legends among China's minority races to deduce the unconscious mentality associated with the peach that antiquity has put into. We will also use evidences in literary works as a supplemental proof and study the symbolic, cultural implication of peach imagery in Chinese literary works to reveal its continuously existent and sustaining strength behind that transcends time and space. Summaries of each chapter are as follows: Chapter 1, Introduction: Research Motivation, Scope and Methodologies It starts with the motivation and steps of this research. It also defines the research direction to help effectively accomplish the objectives of this research and provide a macroscopic view of this research. The method uses "Psychological Archetype" of Carl Gustav Jung (1875-1961) and "Literary Archetype" of Northrop Frye (1912-1991) as the base vision, and uses the literature as the primary research sources supplementing with the unearthed literature, i.e. a methodology of using multiple sources of evidences. By adopting this approach, we will identify and deduce the metaphorical role of "Peach Imagery" and explicate the profound meaning of "Peach Literature". Chapter 2, Primitive Thought and Plants Worshipping This chapter starts with the investigation of the thinking of antiquity's creation of ancient mythology to understand the principles of creating mythology and explicate the development of primitive thought (or myth thought). This will help capture the characteristics of primitive thought to facilitate the following research in the mythology and archetype. The "peach", the primary role in this research, is a holy tree second to hibiscus tree in China. Therefore, we will also investigate the consciousness of plants worshipping based on the views of ancient people's reliance on plants and the primitive thought of treating every thing to be a living being. At the same time, we zoom in the worshipping of holy trees in China to depict the origins of plant's holy and sacred imagery. Chapter 3, Deification and Mythology of Peach The creation of literary works is absolutely not an invention of any individual. Literary works should be studied in the context of entire scope of literature. The study in the literary history concludes that literature, as an organic entity, is rooted in the primitive culture: the model of initial literature must trace back to the religious ceremony, mythology and legend in ancient society. This chapter will mainly study the "peach" in the mythology. In Chinese mythology, though there is no mythology and legends centered around the peach, yet peach often shows up in activities or events associated with figures in the mythology and in some research as well. In this chapter, the author will base on a different angle of symbolization of symbols – use peach as the primary theme supplementing with figures in mythology or events – and use the method of reviewing mythology and archetype to re-investigate the mythological imagery of peach and to depict the cumulative and settling original imagery of peach in the mythology. Chapter 4, Displacement: Peach Imagery in the Poem and Literature Due to the attraction of Tao Yuanming's "Peach Blossom Shangri-la", the "arcadia" becomes the pronoun of Chinese Utopia and has displayed strong strength of life in Chinese culture. It also deeply influences the consciousness and conducts of Chinese scholars. Though the topic of this chapter is "Peach Imagery in the Poem and Literature", the discussion will focus on the article of "Peach Blossom Shangri-la", supplementing with the literature related to "Peach Blossom Shangri-la", and continue to adopt the method of reviewing mythology and archetype to explore and reveal its implicit, inhibitive, and profound meaning. Chapter 5, Displacement: Peach Imagery in Fable and Drama Based on the angle of archetype review, the clue to induce the law of literary development and evolution is the "displacement" of the archetype. The original mythology and literature will be displaced into a new literary genre along with the progressing of the development in the society. Therefore, after investigating the origins of peach and mythology, and the "arcadia" imagery, this chapter will use more literary works – mainly focusing on novels, dramas (for example, "Journal to the West", "Peach Blossom Fan"), and fables (for example, the story of Emperor Wu of Han China and the story of Liu、Ruan) to reveal peach's model of mythology and its consciousness of archetype in the literary works, as well as how does it stimulate the collective unconsciousness: concern toward life. Chapter 6, Conclusion: Archetype of Life After investigating the symbolic implication of peach from mythology to literature, this chapter will draw conclusions of this research – using the symbolic implication of peach to depict humankind's resisting mentality against death. Even until nowadays, we still can see various cultures of symbolization appearing in the folklore events that use peach imagery. The common mentality behind may be explained as that humankind's strong denial against death over many generations and the unchanging longing for eternal life.