This bachelor thesis dives into the topic of responsive images on the web. With more and more devices different devices accessing the web all with different conditions, serving the right image for each and every device is an important matter. This thesis looks into the topic and compares a few available techniques that potentially could solve this problem of providing the right image. This thesis will include a literature study as well as an experiment. When both these parts are done they will be presented, analyzed and summarized for the reader. The experiment is a performance benchmark of two different responsive image techniques, a non responsive image alternative is also tested in order to have something to evaluate the responsive image techniques with and see how big of a difference the techniques can make. Ultimately both responsive image techniques put through the experiment performed relatively even and both showed huge improvements in terms of performance over the non responsive alternative.

This study was interested in assessing whether any disparity between formal policy and employee experience exists within a South African organisation. Specifically, the research identified the images and metaphors presented within an organization’s formal policy documents on diversity and then assessed the extent to which those images reflect a culture of diversity within the organisation. The researcher made use of qualitative methods in the form of content and discourse analysis and in-depth interviews. The results suggest that while the images and metaphors found in policy documents do in fact represent a culture of diversity in its stated intentions, practically, as experienced by employees, a culture for diversity remains limited.

The enormous and ever-growing amount of web images has brought great challenges and opportunities to computer vision. A lot of recent research efforts have been devoted to the effective access of web images (e.g., web image re-ranking, content-based image retrieval), as well as to making better use of web images as auxiliary data sources. A key problem that needs to be solved is to model the semantic and visual structure of web images and to effectively organize the web image collections. This thesis proposes Visual Semantic Complex Network (VSCN), a automatically generated graph structure to model their structure and organize the web image collections. The nodes of the VSCN are compact clusters of images with visual and semantic consistency, named semantic concepts. These nodes are connected based on the visual and semantic correlations. The VSCN consists of 33,240 semantic concepts and cover 10 million images, and is expandable given more computational resources. / The VSCN enables a macroscopic understanding of the structure of web image collection. We study its structural properties from the viewpoint of complex network, and derive a great deal of valuable information. We study the connectivity and efficiency of the VSCN, and show that it is a well connected and efficient network. The study of in-degrees reflects the unequal importance of the semantic concepts. We also show the presence of community structures in the VSCN through analyzing the clustering coefficient. These studies not only gives us a better understanding of the VSCN and the web image collection at a macroscopic level, but also inspires a number of import applications of the VSCN in traditional vision tasks. / The VSCN models the structure of web images, it can be used to assist a variety of vision tasks and provide effective access to web images. We demonstrate three applications of the VSCN in this thesis. In the first application, we devise Anchor Concept Graph Distance (ACGD Distance) based on the VSCN and use this distance for web image re-ranking. As the VSCN effectively models the structures of web images, the ACG distance is able to reduce the semantic gap and better represents similarities between images. We demonstrate its effectiveness on image re-ranking benchmarks. The second application leverages the VSCN to improve the content-based image retrieval algorithms. As the relevant images on the web are connected via inter-concept correlations and grouped by community structures, we can therefore effectively reduce the search space by exploiting the structures of web images encoded in the VSCN. Therefore, the image retrieval task can greatly benefit from the VSCN. In the third application, we develop an novel image browsing scheme based on the VSCN. With the help of the VSCN structure, our proposed browsing scheme allows image browsing over the entire network via navigating the inter-concept connections. The browsing process not only bridges relevant images indexed under different textual queries, it is also guided by natural and meaningful transitions of images. We demonstrate the the VSCN-based scheme leads to better user experience for image browsing. Apart from benefiting better access to web image collections, the VSCN can be also used as an large, structured auxiliary database to assist other vision tasks. In this thesis, we present an example application of object recognition. Our method employs both imagery and textual data indexed by the VSCN, as well as its structural information. Experiments on benchmark datasets demonstrate the effectiveness of our method and the potential of the VSCN database. / 海量並且不斷增長的互聯網圖片給計算機視覺的研究帶來了很大的挑戰和機遇。許多近期的研究致力於網絡圖片的有效獲取（例如網絡圖片重排序，基於內容的圖片檢索即CBIR），以及更有效利用網絡圖片作為輔助數據源。其中一個亟待解決的關鍵問題是如何對網絡圖片間的語義和視覺結構進行建模，並據此組織這些圖片。本論文提出一個自動生成的網絡結構，即視覺語義復雜網絡（VSCN）來建模網絡圖片的結構。VSCN上的節點由一些在視覺和語義層面具有一致性的圖片聚類組成，稱之為語義概念。這些節點又由它們之間的視覺和語義相關性所連接。VSCN共包含33,240個語義概念並囊括了超過一千萬的圖片，並且可以隨著計算資源的增加而不斷增長。 / VSCN使得對網絡圖片結構的宏觀描述成為可能。我們從復雜網絡的角度對它的結構性質進行了研究，並且得出了許多有價值的信息。我們研究了VSCN的連通性和效率，說明它是一個聯通性和效率較好的網絡。對網絡入度的研究反應了語義概念具有不均等的重要性。我們通過分析聚類系數，說明了VSCN存在較明顯的社區結構。這些研究不僅僅為我們提供了對於VSCN和網絡圖片結構的宏觀理解，並且啟發了許多VSCN在計算機視覺任務中的重要應用。 / 因為VSCN建模了網絡圖片結構，它可以被用於許多計算機視覺的任務中並提供對網絡圖片有效的獲取。在本論文中我們展示了三個VSCN的應用。在第一個應用中，我們基於VSCN設計了用於網絡圖片重排序的ACG距離。由於VSCN有效地建模了網絡圖片的結構，ACG距離能夠減少語義鴻溝並更好地表達圖片之間的相似性。我們在基准數據集上展現了此方法的有效性。第二個應用利用VSCN改進了CBIR系統的。由於網絡中的相關圖片被VSCN中的語義概念間相關性所聯系，並組成了社區結構，我們可以利用此種結構信息來有效地減小搜索空間。這使得圖片檢索任務獲益，並使檢索結果得到很大改善。在第三個應用中，我們基於VSCN設計了一個新穎的圖片瀏覽模式。我們的瀏覽模式可以允許通過語義概念間的連接對VSCN進行瀏覽。這個瀏覽過程不僅聯系了屬於不同文本檢索詞的相關圖片，並且被具有指導性的圖片過渡所輔助。我們證明這種基於VSCN的瀏覽方式能夠帶來圖片瀏覽中更好的用戶體驗。除去能夠使得獲取互聯網圖片獲益之外，VSCN同樣可以被用作一個大規模的具有結構的輔助數據庫，並輔助其他計算機使用的任務。在本論文中，我們介紹了一個在物體識別的應用例。我們的方法利用的VSCN所檢索的圖片和文本信息，以及VSCN本身的結構信息。在標准數據集上的實驗證明了我們方法以及VSCN作為輔助數據庫的有效性。 / Qiu, Shi. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves 145-164). / Abstracts also in Chinese. / Title from PDF title page (viewed on 04, October, 2016). / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only.

Thesis. 1977. M.Arch.A.S.--Massachusetts Institute of Technology. Dept. of Architecture. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Bibliography : leaf 69. / M.Arch.A.S.

A partir d’un ensemble de données interprétées et issues d’une analyse préalable par un opérateur expert (horizons, failles), l’objectif de la thèse est de proposer une segmentation d’une image sismique sous-jacente en parfaite cohérence avec les lois de la géologie. L’originalité de la démarche consistera à développer des techniques de segmentation d’images sismiques, entre autres basées sur des approches de type contours actifs, contraintes par des données interprétées en supplément de propriétés intrinsèques calculées par des procédés automatiques à partir de la donnée traitée sans nécessiter une quelconque supervision contrairement aux travaux existants. Un deuxième axe consistera à ordonnancer automatiquement les horizons (surfaces) interprétés et analyser finement chaque intervalle (le lieu existant entre deux horizons), en prenant en compte son contenu (amplitude, orientation, etc.). Tout cela aboutissant à la reconstruction du pseudo-temps géologique. / The objective of the thesis is to propose a segmentation of an underlying seismic image in perfect coherence with the results of a preliminary analysis by an expert (horizons, faults). laws of geology. The originality of the approach will be to develop techniques for segmenting seismic images, among others based on active contour type approaches, constrained by data interpreted in addition to intrinsic properties calculated by automatic processes from the data processed without requiring any supervision in contrast to existing work. A second axis will be to automatically schedule the horizons (surfaces) interpreted and to analyze each interval (the place between two horizons) finely, taking into account its content (amplitude, orientation, etc.). All this resulted in the reconstruction of the geological pseudo-time.

Miu, Hoi Shun. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2004. / Includes bibliographical references (leaves 170-182). / Abstracts in English and Chinese. / Abstract --- p.ii / Acknowledgement --- p.v / Chapter 1 --- Introduction --- p.1 / Chapter 1.1 --- Problem Statement --- p.4 / Chapter 1.2 --- Contributions --- p.5 / Chapter 1.3 --- Thesis Organization --- p.6 / Chapter 2 --- Background --- p.8 / Chapter 2.1 --- Multi-agent Systems --- p.8 / Chapter 2.1.1 --- Agent Architectures --- p.9 / Chapter 2.1.2 --- Multi-agent system frameworks --- p.12 / Chapter 2.1.3 --- The Advantages and Disadvantages of Multi-agent Systems --- p.15 / Chapter 2.2 --- Evolutionary Computation --- p.16 / Chapter 2.2.1 --- Genetic Algorithms --- p.17 / Chapter 2.2.2 --- Genetic Programming --- p.18 / Chapter 2.2.3 --- Evolutionary Strategies --- p.19 / Chapter 2.2.4 --- Evolutionary Programming --- p.19 / Chapter 2.3 --- Object Recognition --- p.19 / Chapter 2.3.1 --- Knowledge Representation --- p.20 / Chapter 2.3.2 --- Object Recognition Methods --- p.21 / Chapter 2.4 --- Evolutionary Multi-agent Systems --- p.25 / Chapter 2.4.1 --- Competitive Coevolutionary Agents --- p.26 / Chapter 2.4.2 --- Cooperative Coevolutionary Agents --- p.26 / Chapter 2.4.3 --- Cellular Automata --- p.27 / Chapter 2.4.4 --- Emergent Behavior --- p.28 / Chapter 2.4.5 --- Evolutionary Agents for Image processing and Pattern Recog- nition --- p.29 / Chapter 3 --- System Architecture and Agent Behaviors in SIMULATORS --- p.33 / Chapter 3.1 --- Organization of the System --- p.34 / Chapter 3.1.1 --- General Architecture of Object Recognition System --- p.34 / Chapter 3.1.2 --- Introduction to SIMULATORS --- p.35 / Chapter 3.1.3 --- System Flow of SIMULATORS --- p.37 / Chapter 3.1.4 --- Layered Digital Image Environment --- p.39 / Chapter 3.2 --- Architecture of Autonomous Agents --- p.41 / Chapter 3.2.1 --- Internal Object Model in an Agent --- p.41 / Chapter 3.2.2 --- Current State of an Agent --- p.46 / Chapter 3.2.3 --- Local Information Sensor --- p.46 / Chapter 3.2.4 --- Direction Density Vector --- p.47 / Chapter 3.3 --- Agent Behaviors --- p.48 / Chapter 3.3.1 --- Feature Target Marking --- p.49 / Chapter 3.3.2 --- Reproduction --- p.49 / Chapter 3.3.3 --- Diffusion --- p.52 / Chapter 3.3.4 --- Vanishing --- p.54 / Chapter 3.4 --- Clustering for Autonomous Agent Training --- p.56 / Chapter 3.4.1 --- Introduction --- p.56 / Chapter 3.4.2 --- Creating the Internal Object Model --- p.58 / Chapter 3.5 --- Summary --- p.63 / Chapter 4 --- Evolutionary Algorithms for Multi Agent System --- p.64 / Chapter 4.1 --- Evolutionary Agent Behaviors in SIMULATORS --- p.65 / Chapter 4.1.1 --- Overview --- p.65 / Chapter 4.1.2 --- Evolutionary Autonomous Agents --- p.66 / Chapter 4.1.3 --- Reproduction --- p.68 / Chapter 4.1.4 --- Fitness Function --- p.68 / Chapter 4.1.5 --- Direction Density Vector Propagation --- p.73 / Chapter 4.1.6 --- Mutation --- p.73 / Chapter 4.2 --- Agents Voting Mechanism --- p.74 / Chapter 4.2.1 --- Overview --- p.74 / Chapter 4.2.2 --- Voting for Cooperative Agents --- p.75 / Chapter 4.3 --- Evolutionary Multi Agent Object Recognition --- p.79 / Chapter 4.4 --- Summary --- p.81 / Chapter 5 --- Experimental Results and Applications --- p.82 / Chapter 5.1 --- Experiment Methodology --- p.82 / Chapter 5.1.1 --- Introduction to Fung Shui Woodland --- p.83 / Chapter 5.1.2 --- Testing Images --- p.83 / Chapter 5.1.3 --- Creating Internal Object Model --- p.85 / Chapter 5.1.4 --- Experiment Parameters --- p.86 / Chapter 5.2 --- Experimental Results of Fung Shui Woodland Recognition --- p.92 / Chapter 5.2.1 --- Experiment 1: artificial0l --- p.92 / Chapter 5.2.2 --- Experiment 2: artificial0l´ؤnoise --- p.92 / Chapter 5.2.3 --- Experiment 3: artificial02 --- p.93 / Chapter 5.2.4 --- Experiment 4: FungShui0l --- p.93 / Chapter 5.2.5 --- Experiment 5: FungShui0l´ؤnoise --- p.94 / Chapter 5.2.6 --- Experiments 6 to 11: FungShui02 to FungShui07 --- p.94 / Chapter 5.3 --- Discussion --- p.119 / Chapter 5.4 --- An Example of Eyes Detection --- p.124 / Chapter 5.4.1 --- Result of the Eyes Detection --- p.128 / Chapter 5.5 --- Summary --- p.132 / Chapter 6 --- Conclusion --- p.133 / Chapter 6.1 --- Summary --- p.133 / Chapter 6.2 --- Future Work --- p.136 / Chapter A --- The Figures in the Experiments --- p.138

Ce travail de recherches interroge l’ensemble des activités artistiques menées par Jean-Philippe Toussaint à l’aube du XXIe siècle. Ces activités déterminent un corpus composé des différentes publications, expositions, installations qui tissent entre elles des liens explicites et implicites. Cette trame immatérielle fonde notre corpus, notre « texte » d’étude étant ainsi constitué de cet entrelacs de propositions artistiques. Ce questionnement convoque plusieurs perspectives que l’on peut distinguer quoiqu’elles soient interdépendantes. La première considère l’inscription de cette œuvre dans une époque déterminée et sa revendication de contemporanéité. La deuxième prend appui sur une réflexion sur les supports, les médiums de la production artistique de Jean-Philippe Toussaint, leurs spécificités, leurs liens participant tout autant de la complémentarité que de la tension. La troisième se réfère à la dimension réflexive de cette œuvre composite qui se donne à voir, qui « s’expose » dans tous les sens du terme, au point de prendre le risque du dévoilement. Notre étude se centre sur une période, 2000-2015, de maturité créative inaugurée par les premières expositions de photographies (Chapitre XII, Bruxelles ; CASO, Osaka), la rédaction de l’opus I, Faire l’amour (publié en 2002) du cycle M.M.M.M. et la publication du recueil Autoportrait (A l’étranger) qui rassemble des textes rédigés à la fin des années 90. Les réalisations artistiques toussaintiennes des années 2000-2015, fictions, essais, catalogue, vidéos, films, expositions, installations, quoique variées établissent toutes une relation avec ses propres écrits, le livre et la lecture ; elles témoignent d’une homogénéité qui repose sur l’omniprésence de l’image scripturale et visuelle, ou plus exactement DES images, qui se superposent, se complètent, s’annihilent, dans des mouvements de synergies comme de conflits. Aussi ces images sont-elles au cœur de notre questionnement qui éclaire la poétique de Toussaint telle qu’elle se manifeste dans ses réalisations et s’exprime dans ses propos. La primauté du regard est ainsi une constante (« La main et le regard, il n’est jamais question que de cela dans la vie, en amour, en art. » La Vérité sur Marie, 2009) qui circule dans toute l’œuvre. Le regard est central car voir, c’est aussi, pour Jean-Philippe Toussaint, penser et rêver, l’image participant tour à tour, et parfois simultanément, de la perception, de l’analyse et du fantasme. / This research work questions the ensemble of the artistic activities conducted by Jean-Philippe Toussaint at the dawn of the 21st century. These activities determine a corpus composed of different publications, exhibitions and installations which forge implicit and explicit links in between themselves. This immaterial framework serves as the basis for our corpus, our study “text” thus being constituted of this interlacing of artistic propositions. This questioning convokes several perspectives that can be distinguished even though they are interdependent. The first perspective considers the place of this work in a defined period and its claim of contemporaneity. The second leans on a reflection on the supports, the media of Jean-Philippe Toussaint’s artistic production, their specific features, their links pertaining equally to complementarity and to tension. The third one refers to the reflective dimension of this composite work displaying itself, “exposing” itself in every sense of the word, to the extent of taking the risk of unveiling. Our work centers on a period, 2000-2015, of creative maturity inaugurated by the first photographs exhibitions (Chapter XII, Brussels; CASO, Osaka), the writing of the opus I, Faire l’amour (published in 2002) of the cycle M.M.M.M. and the publication of the collection Autoportrait (A l’étranger) gathering texts written at the end of the nineties. The toussaintian realizations of the years 2000-2015, fictions, essays, catalogue, videos, films, exhibitions, installations, although varied, all establish a relationship with his own writings, the book and the reading; they demonstrate a homogeneity based on the omnipresence of the scriptural and visual picture, or more precisely PICTURES, which are superimposed on each other, complete each other, annihilate each other, in movements of synergies as well as conflicts. Therefore, these pictures are in the heart of our questioning which sheds light on Toussaint’s poetics as the latter manifest themselves in his productions and are expressed in his words. The pre-eminence of the gaze is thus a permanent feature (« La main et le regard, il n’est jamais question que de cela dans la vie, en amour, en art. » La Vérité sur Marie, 2009) which circulates throughout the entire work. The gaze is central because to see is also, according to Jean-Philippe Toussaint, to think and to dream, the picture pertaining, in turns, and sometimes simultaneously, to perception, analysis and fantasy.

In this thesis we have presented original homomorphic images of permutations and monomial progenitors. In some cases we have used the double coset enumeration tech- nique to construct the images and for all of the homomorphic images that we have discovered, the isomorphism type of each group is given. The homomorphic images discovered include Linear groups, Alternating groups, and two sporadic simple groups J1 and J2X2 where J1 is the smallest Janko group and J2 is the second Janko sporadic group.

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 (Ph.D.)--University of Nebraska-Lincoln, 2006. / Title from title screen (site viewed on Feb. 6, 2007). PDF text: 163 p. : ill. (some col.). UMI publication number: AAT 3221295. Includes bibliographical references. Also available in microfilm and microfiche format.