This thesis explores the problem of how to present digital images of ancient artifacts in a manner that supports the task of visual analysis. The real object presents the "truth": exact scale, colour, and fine details. An original work of art provides the viewer with the opportunity to react directly with the object, is closest to the impact intended by the artist, and provides a tangible physical link with the past. Digital images limit and alter the experience of a work of art (1) with regard to the amount of data available (resolution), and (2) through the interpretation of the object by the producers of the digital copy (mediation). A new framework is developed to improve the understanding and presentation of virtual artifacts. This Fidelity-Mediation framework provides a continuum for considering the effects of design strategies on media used in teaching Classical arch�ology. Two small-scale experiments and follow-up interviews were undertaken to assess the usefulness of the Fidelity-Mediation framework as a descriptive model. During the experiments, quantitative analysis could detect no statistical difference in the effectiveness of different types of presentation (real object, VR object, and still digital images). This is a surprising result as it might be expected that there is nothing like seeing the real thing. Digital images provide less visual integrity. However, the digitised artifacts make up for the loss of excitement and authenticity by providing the advantage of mediated focus. Digitised artifacts thus turn out to be useful, effective study tools in the analysis of Classical art. Findings from this research are expected to generalise only to learning situations which support task orientation--situations conducive to developing personal skills and mastery--in contrast to performance orientation where the goal is to display performance relative to others. The distinction between task orientation and performance orientation is discussed in Chapter Eight of this thesis.

Thesis (M.S.)--Ohio University, August, 2007. / Title from PDF t.p. Includes bibliographical references.

Typescript. Includes bibliographical references (leaves 96-99).

Many older documents are of poor quality and are deteriorating with the passage of time. Furthermore, many of these documents are currently stored in the form of paper or photographic film, and therefore storage space, accessibility, and security are serious problems. Because of these problems, many older documents are being restored and converted to digital form for archival. Image scanners which perform these tasks must be fast and must produce digital images that are of high quality. A Scan Optimizer was developed by Image Processing Technologies, Inc., to assist in the restoration and conversion processes. This device dramatically improves the throughput of image scanners by the use of high-speed complicated image processing. As originally designed, however, the IPT Scan Optimizer requires the manual adjustment of several parameters to obtain the best results for a given document. Because of this manual adjustment, human intervention was often required, and conversion speeds were drastically reduced. In order to remove the need for manual adjustments, an Automatic Parameter Setting (APS) algorithm was developed. This algorithm relies on histogram analysis over non overlapping image regions for the computation of scan parameters. This thesis describes a hardware realization of the APS algorithm. To achieve a real-time implementation that is low in cost, several compromises were necessary in the design. This two-board set is compatible with the AT bus, and is composed of one SPARC RISC chip, four Xilinx Programmable Logic Cell Arrays, ten PALs and many RAMs and supporting logic. This system has been designed, built, and successfully tested with many documents. / Master of Science

Digital image archiving urgently requires advanced techniques for more efficient storage and retrieval methods because of the increasing amount of digital. Although JPEG supply systems to compress image data efficiently, the problems of how to organize the image database structure for efficient indexing and retrieval, how to index and retrieve image data from DCT compressed domain and how to interpret image data semantically are major obstacles for further development of digital image database system. In content-based image, image analysis is the primary step to extract useful information from image databases. The difficulty in content-based image retrieval is how to summarize the low-level features into high-level or semantic descriptors to facilitate the retrieval procedure. Such a shift toward a semantic visual data learning or detection of semantic objects generates an urgent need to link the low level features with semantic understanding of the observed visual information. To solve such a 'semantic gap' problem, an efficient way is to develop a number of classifiers to identify the presence of semantic image components that can be connected to semantic descriptors. Among various semantic objects, the human face is a very important example, which is usually also the most significant element in many images and photos. The presence of faces can usually be correlated to specific scenes with semantic inference according to a given ontology. Therefore, face detection can be an efficient tool to annotate images for semantic descriptors. In this thesis, a paradigm to process, analyze and interpret digital images is proposed. In order to speed up access to desired images, after accessing image data, image features are presented for analysis. This analysis gives not only a structure for content-based image retrieval but also the basic units ii for high-level semantic image interpretation. Finally, images are interpreted and classified into some semantic categories by semantic object detection categorization algorithm.

Digital image archiving urgently requires advanced techniques for more efficient storage and retrieval methods because of the increasing amount of digital. Although JPEG supply systems to compress image data efficiently, the problems of how to organize the image database structure for efficient indexing and retrieval, how to index and retrieve image data from DCT compressed domain and how to interpret image data semantically are major obstacles for further development of digital image database system. In content-based image, image analysis is the primary step to extract useful information from image databases. The difficulty in content-based image retrieval is how to summarize the low-level features into high-level or semantic descriptors to facilitate the retrieval procedure. Such a shift toward a semantic visual data learning or detection of semantic objects generates an urgent need to link the low level features with semantic understanding of the observed visual information. To solve such a -semantic gap¿ problem, an efficient way is to develop a number of classifiers to identify the presence of semantic image components that can be connected to semantic descriptors. Among various semantic objects, the human face is a very important example, which is usually also the most significant element in many images and photos. The presence of faces can usually be correlated to specific scenes with semantic inference according to a given ontology. Therefore, face detection can be an efficient tool to annotate images for semantic descriptors. In this thesis, a paradigm to process, analyze and interpret digital images is proposed. In order to speed up access to desired images, after accessing image data, image features are presented for analysis. This analysis gives not only a structure for content-based image retrieval but also the basic units ii for high-level semantic image interpretation. Finally, images are interpreted and classified into some semantic categories by semantic object detection categorization algorithm.

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• Abstract Integrated digital imaging systems are widely used in consumer electronics today. Current digital image sensors have a linear respeiiSt. The limited dynamic range of linear digital image sensors results in saturation when the input dynamic range of the scene is larger than that of the camera. This limitation could be overcome using pixels with an output that is proportional to the logarithm of the detected photocurrent. Conventional CMOS pixels with a logarithmic response, using a transistor operating in the sub-threshold region, are capable of capturing wide dynamic range scenes with more than six decades of illumination intensity. But these pixels suffer from fixed pattern noise, slow response and low sensitivity. A five transistor (5T) pixel circuit for a standard 0.35-fLm CMOS process which integrates the photocurrent linearly and capable of a logarithmic response is described in the thesis. A key component of the 5T pixel is a time-dependent reference voltage. This voltage is applied to the gate of one of the transistors inside each pixel in the array for the duration of the exposure to generate a logarithmic response. A model derived to generate the reference voltage is described. Improvements were made to the reference voltage model to take into consideration the non-ideal effects such as charge feedthrough and threshold voltage variations. A potential problem associated with successfully tonemapping low photo currents with the 5T pixel has been described and a method to calculate the optimal value of reference current Iret proposed. This was shown to lead to an optimum photoresponse. Measurement results from fabricated 1-D and 2-D arrays of 5T pixels are presented and analysed. An overall DR of 97-dB (almost 5 decades) has been achieved from 100 mlux to 6.7 Klux. The slope of the logarithmic photoresponse was shown to be adjustable and controlled by the slope parameter S in the reference voltage model. A large output swing of over 1 V due to the large photoresponse slope in the logarithmic region results in greater signal-to-noise ratio compared to the conventional logarithmic pixel based on the subthreshold transistor operation (60 m V/decade). Digital and analogue reference voltage generating techniques are described with circuits implemented in 0.35-fLm CM OS process. Finally, a 5T NMOS pixel that is capable of WDR imaging with superior low-light performance (23 mlux) and greater DR (1l0-dB) than the 5T PMOS pixel is described. [ a

Orientador: João Antonio Pereira / Banca: Marcio Antonio Bazani / Banca: Ricardo Mikio Doi / Resumo: Nesta dissertação é discutido o desenvolvimento e a implementação de uma técnica de medida de deslocamentos utilizando uma única câmera digital, cujo foco principal é a medição de movimento e vibrações estruturais. A proposta é uma técnica de medição de não contato que tem como base a variação da posição dos pixels de um alvo ou conjunto de alvos (pontos de medições) na sequência de imagens do vídeo utilizado para capturar o movimento do alvo ou conjunto de alvos na cena. Os conceitos e o embasamento teórico são apresentados, envolvendo uma discussão de como se dá a formação e obtenção de imagens digitais, a definição e obtenção dos parâmetros intrínsecos da câmera, bem como as técnicas de processamento de imagens utilizadas para a identificação do alvo na cena. A identificação dos alvos é feita a partir da utilização de várias ferramentas de análise e processamento de imagens, dentre elas, separação de cores, detecção de bordas, thresholding, erosão e dilatação. O movimento do alvo na sequência de imagens é rastreado em termos de pixels e posteriormente é feita a conversão para unidade de medida utilizando a relação unidade de medida/pixel obtida através de um processo de calibração. A avaliação e validação da proposta foram feitas através de testes experimentais, envolvendo tanto medidas estáticas como dinâmicas. Numa etapa final, a técnica foi utilizada para a análise de vibração de um prédio em escala reduzida, mais especificamente, a análise modal com base apenas na resposta da estrutura. Os resultados e análises realizadas mostraram que a metodologia implementada com base na utilização de uma única câmera se mostrou como uma proposta com alto potencial de aplicação como ferramenta de medição de não-contato, relativamente simples e efetiva / Abstract: In this work is discussed the development and implementation of a technique for measuring of displacements using a single digital camera, whose main focus is the measurement of structural motion and vibrations. The proposal is a non-contact measurement technique, which is based on the variation of the position of the pixels of the target measuring points in the sequence of images of a video used to capture the movement of the target points in the scene. The concepts and theoretical background are presented, involving a discussion concerning to the formation and obtaining of digital images, definition and obtaining of intrinsic parameters of the camera, as well as the image processing techniques used to identify the measuring target points in the scene. The identification of the targets is made from the use of different analysis and image processing tools such as, color separation, edge detection, thresholdding, erosion and dilation used in a complementary way. The movement of the target points in the sequence of image is tracked in terms of pixels and then they are converted in measurement unit using the ratio measurement unit/pixel obtained by a calibration process. The evaluation and validation of the proposal were made through experimental tests, involving both static and dynamic measurements. At a final stage, the technique was used to vibration analyze of a reduced scale building structure, more specifically, the output-only modal analysis of the structure. The results and analyzes showed that the methodology implemented based on the use of a unique camera provided to be a proposal with high application potential as a non-contact measurement tool, relatively simple and effective / Mestre

科技在過去十多年的迅速發展，成就了電腦及互聯網絡的普及，將人類推向一個未知的新紀元。我們正處於一個影像數量前所未有地泛濫、流通的時代，更多影像媒體的出現，導致我們對於觀看的方式有了新的體驗。視覺媒介與及影像長久以來也在藝術創作、以至人類文明中佔據著主導地位，作為當代藝術家如何對應這個時代的科技與影像文化變遷？本文從三個章節去探討當代藝術創作在數位科技下對新媒體影像的探討與反思。一）影像的定義與科技發展的歷史脈絡：先探討當下數位影像跟觀看方式的轉變，透過檢視影像建構意義的過程去確立一個討論的環境前提；並追朔媒體與空間概念跟影像科技發展的歷史脈絡。二）新媒體與數位影像：界定新媒體的定義，及其發展對影像意義、角色定位所帶來的轉變；延伸至當下虛擬與真實的空間概念轉變。三）非物質的物質化呈現：以當代藝術創作為例子，去闡述新媒體影像及其媒介平台在當代生活中的各種面向。本章所論述的藝術創作集中在以傳統媒介為基礎去對應新媒體影像的藝術作品，而非以新媒體本身為作品媒介的「新媒體藝術創作」。在文末附以本人的藝術作品以供參考。 / The rapid development in technology caused the popularization of computers and internet over the past decades and it generated a new era to human beings. We are at the age of unprecedented number of image, the new visual media has led to a new way of looking. Images and visual media have long been a dominant position in art and human civilization, how to respond with this era of technology and visual culture change as a contemporary artist becomes an important issue. This thesis is divided into three chapters which aim at exploring contemporary artistic creation, discussion and reflection of images of the new media in the digital technology. 1) The definition of image through historical context and development of visual technology: The first phase discusses the change on the way of looking according to the present digital images, the process of constructing meaning through looking the image are introduced to establish a background for the discussion; and traced the historical context of media technology with image development. 2) Of the digital images and new media: The second phase defines the definition of new media, and its influence on the meaning and role of extends to the changes in the concept of virtuality and real space. 3) Representation of the non-material substance: Use contemporary artistic practices as examples to describe the various aspects of new media image in contemporary life. Discussions in this chapter of artistic creation is concentrated in the work of traditional media that use new media image as subject rather than works of new media art". At the end of the thesis, my artworks which relate to the topic are introduced for reference. / Detailed summary in vernacular field only. / 李天倫. / "2012年8月". / "2012 nian 8 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 77-79). / Abstract in Chinese and English. / Li Tianlun. / 引言 --- p.7 / Chapter 第一章 --- 影像的定義與科技發展的歷史脈絡 / Chapter 1.1 --- 當代生活的視覺經驗 --- p.8 / Chapter 1.2 --- 觀看與再現 --- p.9 / Chapter 1.3 --- 影像的意義構成 --- p.10 / Chapter 1.4 --- 數位影像的意義構成 --- p.11 / Chapter 1.5 --- 媒體與空間概念 --- p.15 / Chapter 1.6 --- 影像科技發展的歷史脈絡 --- p.17 / Chapter 第二章 --- 新媒體與數位影像 / Chapter 2.1 --- 新媒體的定義 --- p.23 / Chapter 2.2 --- 新媒體的特質 --- p.24 / Chapter 2.3 --- 觀看方式的轉變 --- p.28 / Chapter 2.4 --- 數位影像的複製、原真性與「靈光」 --- p.29 / Chapter 2.5 --- 虛擬與網絡－空間觀念的轉變 --- p.31 / Chapter 第三章 --- 非物質的物質化呈現－對應新媒體影像的藝術創作 / Chapter 3.1 --- 感知的回歸 --- p.34 / Chapter 3.2 --- 當代視覺語言的體現 --- p.37 / Chapter 3.3 --- 從無形到有形－資訊影像化 --- p.41 / Chapter 3.4 --- 網絡與影像流通 --- p.45 / Chapter 3.5 --- 數位影像與流行文化 --- p.49 / Chapter 3.6 --- 虛擬與真實的糾結 --- p.52 / 結語 --- p.55 / 附錄 / 我的作品 --- p.57 / 圖片來源 --- p.75 / 參考書目及資料 --- p.77