The LULU operators, Ln and Un, are smoothers, that is they smooth data received as a signal. They are nonlinear and this nonlinearity makes them more robust but also more complicated to study since the projection theorem does not hold. Their smoothing action is aimed at removing the impulsive noise present in any received signal. A signal can be of one or two dimensions, or of any higher dimension. In one dimension a signal is represented as a sequence and in two dimensions as an image. Higher dimensions include video feed and other more complex data streams. Carl Rohwer developed the LULU smoothers for sequences over the last three decades and the need for an extension to higher dimensions became more and more obvious as the applications of these smoothers were investigated. Perhaps the most important application is that of the Discrete Pulse Transform which is obtained via recursive application of the smoothers. In this dissertation the extension to dimensions higher than one is presented. All the essential properties developed for the one dimensional smoothers are replicated in this work. In addition, the Discrete Pulse Transform is used to illustrate some simple applications to image smoothing and feature detection. Copyright / Dissertation (MSc)--University of Pretoria, 2010. / Mathematics and Applied Mathematics / unrestricted

No description available.

Texte remanié de : Potsdam, Univ., Magisterarbeit. / Bibliogr. p. 135-141. Liste de sites internet p. 143.

Thesis (MSc)--University of Stellenbosch, 2011. / ENGLISH ABSTRACT: The nonlinear LULU smoothers excel at removing impulsive noise from sequences and possess a variety of theoretical properties that make it possible to perform a so-called Discrete Pulse Transform, which is a novel multiresolution analysis technique that decomposes a sequence into resolution levels with a large amount of structure, analogous to a Discrete Wavelet Transform. We explore the use of a one-dimensional Discrete Pulse Transform as the central element in a digital image compressor. We depend crucially on the ability of space-filling scanning orders to map the two-dimensional image data to one dimension, sacrificing as little image structure as possible. Both lossless and lossy image compression are considered, leading to five new image compression schemes that give promising results when compared to state-of-the-art image compressors. / AFRIKAANSE OPSOMMING: Die nielineêre LULU gladstrykers verwyder impulsiewe geraas baie goed uit rye en besit verskeie teoretiese eienskappe wat dit moontlik maak om ’n sogenoemde Diskrete Puls Transform uit te voer; ’n nuwe multiresolusie analise tegniek wat ’n ry opbreek in ’n versameling resolusie vlakke wat ’n groot hoeveelheid struktuur bevat, soortgelyk tot ’n Diskrete Golfie Transform. Ons ondersoek of ’n eendimensionele Diskrete Puls Transform as die sentrale element in ’n digitale beeld kompressor gebruik kan word. Ons is afhanklik van ruimtevullende skandeer ordes om die tweedimensionele beelddata om te skakel na een dimensie, sonder om te veel beeld struktuur te verloor. Vyf nuwe beeld kompressie skemas word bespreek. Hierdie skemas lewer belowende resultate wanneer dit met die beste hedendaagse beeld kompressors vergelyk word.

Using Alban Berg’s opera Lulu as a case study, this dissertation explores the fluid nature of cultural artifacts as they are reborn within new socio-cultural contexts. By examining several Lulu productions, this inquiry seeks to understand the changes of meaning that have occurred through the transformation of canonic works in the twentieth- and twenty-first centuries. Central to this project is the shifting nature of the character of Lulu, not only in Berg’s opera, but also in various artistic genres that preceded and affected his own conceptions, as well as her appearances in selected productions. This study contrasts modern Lulu productions with the composer’s intentions for the opera, using Berg’s operatic text as a basis for comparison. These assessments will be made through a semiotic analysis of various staging elements, musical and textual analysis of archival materials, and consideration of past Lulu scholarship. Relevant features of the political, cultural, and social climate of each production are also be investigated. Two Werktreue productions are examined: the Austrian première of Lulu at the Theatre an der Wien (1962) and the Metropolitan Opera staging by John Dexter (1977). Several Regietheater productions are also studied, including the three-act 1979 première at the Paris Opera—complete with Friedrich Cerha’s third act—as well as stagings at the Glyndebourne Festival, Opernhaus Zürich, the Royal Opera House, the Theater Basel, and the Gran Teatre del Liceu. Although much scholarship has been written on Lulu, directors have implemented some of the most radical changes to the opera. Building on Lydia Goehr’s definition of the work-concept in The Imaginary Museum of Historical Works, this project examines the role of these radically altered stagings as challenges to the work-concept of Lulu. In order to assess the portrayal of Lulu in the above-listed productions, this dissertation investigates the origins of her character, tracing the genesis of Lulu and the numerous artists who molded her, including Félicien Champsaur, Frank Wedekind, Leopold Jessner, and G. W. Pabst. Finally, this dissertation considers a work that goes beyond modifications of orchestration, setting, and staging in Regietheater productions. Olga Neuwirth’s opera, American Lulu, represents the ultimate authorial challenge, functioning as both an adaptation of Berg’s text and as a newly composed work. This inquiry explores the transformed mise en scène and re-imagined characters of American Lulu, investigating Neuwirth’s politicized changes and the effect that these alterations have on the story of Lulu. In addition to analyzing her score and libretto, this study examines the performance and depiction of race and sexuality in two American Lulu productions, at the Komische Oper Berlin and the Young Vic in London. Several Lulu performances discussed in this study explore an area which, even as recently as the publication of Roger Parker’s Remaking the Song, was called “untouched”: the alteration of the operatic text itself. Whether these updated works and radical stagings are considered a passing trend or true innovations, the effect of staging on operagoers is undeniable. Like the shifting interpretations of the iconic character herself, the complex history of Lulu reflects the development of canonic works over time, as they are altered, transformed, and reborn in new environments.

No description available.

<p>This essay examine the femme fatal and the head character in the play Lulu Eine Monstretra gödie by Frank Wedekind. I have studied Lulu, who would be classified as a femme fatal, in terms to see what kind of woman’s portrait a femme fatal is. I will show with the theories of Judith Butler, Jacques Lacan and Joan Riviere how the femme fatal can be seen as a construc-tion, a role done by men. As well as a strong self owned woman. I will also discuss other con-cepts like femme-inism. My aim with this analysis is not to show one, but many different ways of looking at the femme fatal.</p>

This essay examine the femme fatal and the head character in the play Lulu Eine Monstretra gödie by Frank Wedekind. I have studied Lulu, who would be classified as a femme fatal, in terms to see what kind of woman’s portrait a femme fatal is. I will show with the theories of Judith Butler, Jacques Lacan and Joan Riviere how the femme fatal can be seen as a construc-tion, a role done by men. As well as a strong self owned woman. I will also discuss other con-cepts like femme-inism. My aim with this analysis is not to show one, but many different ways of looking at the femme fatal.

Thesis (MSc (Mathematics))--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: In this thesis we consider the essential topics relating to stereo-vision and the correspondence problem in general. The aim is to reconstruct a dense 3D scene from images captured by two spatially related cameras. Our main focus, however, is on speed and real-time implementation on a standard desktop PC. We wish to use the CPU to solve the correspondence problem and to reserve the GPU for model rendering. We discuss three fundamental types of algorithms and evaluate their suitability to this end. We eventually choose to implement a hierarchical version of the dynamic programming algorithm, because of the good balance between accuracy and speed. As we build our system from the ground up we gradually introduce necessary concepts and established geometric principles, common to most stereovision systems, and discuss them as they become relevant. It becomes clear that the greatest weakness of the hierarchical dynamic programming algorithm is scanline inconsistency. We nd that the one-dimensional LULU- lter is computationally inexpensive and e ective at removing outliers when applied across the scanlines. We take advantage of the hierarchical structure of our algorithm and sub-pixel re nement to produce results at video rates (roughly 20 frames per second). A 3D model is also constructed at video rates in an on-line system with only a small delay between obtaining the input images and rendering the model. Not only is the quality of our results highly competitive with those of other state of the art algorithms, but the achievable speed is also considerably faster. / AFRIKAANSE OPSOMMING: In hierdie tesis beskou ons die noodsaaklike onderwerpe wat in die algemeen verband hou met stereovisie en die ooreenstemmingsprobleem. Die mikpunt is om 'n digte 3D toneel te rekonstrueer vanaf beelde wat deur twee ruimtelik-verwante kameras vasgelê is. Ons hoofdoel is egter spoed, en intydse implementering op 'n standaard rekenaar. Ons wil die SVE (CPU) gebruik om die ooreenstemmingsprobleem op te los, en reserveer die GVE (GPU) vir model-beraping. Ons bespreek drie fundamentele tipes algoritmes en evalueer hul geskiktheid vir hierdie doel. Ons kies uiteindelik om 'n hiërargiese weergawe van die dinamiese programmeringsalgoritme te implementeer, as gevolg van die goeie balans tussen akkuraatheid en spoed. Soos wat ons ons stelsel van die grond af opbou, stel ons geleidelik nodige konsepte voor en vestig meetkundige beginsels, algemeen tot meeste stereovisie stelsels, en bespreek dit soos dit toepaslik word. Dit word duidelik dat skandeerlyn-strydigheid die grootste swakheid van die hiërargiese dinamiese programmeringsalgoritme is. Ons vind dat die een-dimensionele LULU- lter goedkoop is in terme van berekeninge, en e ektief aangewend kan word om uitskieters te verwyder as dit dwarsoor skandeerlyne toegepas word. Ons buit die hiërargiese struktuur van ons algoritme uit en kombineer dit met sub-piksel verfyning om resultate te produseer teen video tempo (ongeveer 20 raampies per sekonde). 'n 3D model word ook gekonstrueer teen video tempo in 'n stelsel wat aanlyn loop, met slegs 'n klein vertraging tussen die verkryging van die intree-beelde en die beraping van die model. Die kwaliteit van ons resultate is nie net hoogs mededingend met dié van die heel beste algoritmes nie, maar die verkrygbare spoed is ook beduidend vinniger.

Made available in DSpace on 2015-03-26T13:39:40Z (GMT). No. of bitstreams: 1 texto completo.pdf: 1757046 bytes, checksum: 86e8611f7f0f4e5c22e6b32f760f11b1 (MD5) Previous issue date: 2010-12-17 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The objective of this study was to monitor the physical, chemical and physiological changes occurring during lulu fruit development, from anthesis to the full plant maturation. The fruits were harvested in the orchard of the Federal University of Viçosa and the analysis performed in the Laboratory of Fruits Analysis, from the Department of Fitotecny. Eight fruits were collected per week, divided into four replicates of two fruits. The development was evaluated by means of volume, length and diameter of the fruit, fresh and dried mass of the fruit, fruit pulp and pericarp, pericarp thickness, soluble solids, acidity, vitamin C, pulp carotenoids and production of CO2. The development curves for each trait were adjusted by regression analysis. The fruits had a simple sigmoidal growth pattern in response to weather variations. The reproductive cycle of lulu lasted 95 days. Fruits development was divided into three phases. The first phase was up to 7,39 days after anthesis (DAA), being characterized by high respiratory rates, probably due to the intense cell multiplication and the pericarp showed light green color. The second phase occurred from 7,39 DAA to 57,63 DAA, being characterized by maximum rates of increase in dimensions of the fresh and dry fruit, the pericarp developed an intense green color and respiratory rates increased until 45 DAA and remained stable until 52 DAA. The third and final development phase occurred from 57,63 DAA to 95,00 DAA, the last day of evaluations. This phase was characterized by dimensions stabilization and accumulation of fresh mass. In this period, the climacteric rise (from 52 to 59 DAA) occurred. The respiratory climactery occurred at 66 DAA, with peak production of CO2 of 110,99 mg CO2 kg-1 h-1. The postviii climactery was between 73 and 95 DAA, when soluble solids increased and acidity and vitamin C from the pulp decreased. At this stage, the pericarp of the fruitsshowed orange coloration. The physical and chemical characteristics of 35 fully ripe fruits were also studied, and the data were analyzed by Pearson correlation. Great variation among the values.obtained for each trait could be seen. There were significant correlations between most of the physical characteristics evaluated. The equatorial diameter and length of the fruit showed high positive correlation with fresh fruit mass, 0,9687 ** and 0,9647 **, respectively. The equatorial diameter and length were not correlated significantly with the pulp percentage, indicating that bigger fruits, with greater fresh mass do not necessarily have a higher pulp yield. The hue angle was negatively correlated with fresh mass (-0.2958 *), indicating that the peel of fruits with higher fresh mass show less orange coloration. Regarding chemical characteristics, most correlations were not significant. With this study, no non- destructivecriteria could be found to define the fruits harvesting point. / Objetivou-se acompanhar as mudanças físicas, químicas e fisiológicas ocorridas durante o desenvolvimento do fruto de lulo, da antese até o amadurecimento completo na planta. Os frutos foram colhidos no pomar da Universidade Federal de Viçosa e as análises realizadas no Laboratório de Análise de Frutas do Departamento de Fitotecnia. Foram coletados oito frutos por semana, separados em quatro repetições de dois frutos. O desenvolvimento foi avaliado quanto ao volume, comprimento e diâmetro equatorial do fruto, massas frescas e secas do fruto, polpa e pericarpo, espessura do pericarpo, teores de sólidos solúveis, acidez titulável, vitamina C, carotenóides da polpa e produção de CO2. As curvas de desenvolvimento para cada característica foram ajustadas por análise de regressão. Os frutos apresentaram um padrão de crescimento sigmoidal simples em resposta à variação do tempo. O ciclo reprodutivo do lulo teve duração de 95 dias. O desenvolvimento do fruto foi dividido em três fases. A primeira fase foi até os 7,39 dias após a antese (DAA), sendo caracterizada pela alta taxa respiratória, provavelmente devido à intensa multiplicação celular, e o pericarpo apresentava coloração verde-claro. A segunda fase estendeu-se a partir dos 7,39 DAA até 57,63 DAA, sendo caracterizada pelas taxas máximas de incremento das dimensões e das massas fresca e seca do fruto, e o pericarpo desenvolveu uma cor verde intensa e a taxa respiratória cresceu até 45 DAA, mantendo-se estável até os 52 DAA. A terceira e última fase do desenvolvimento, estendeu-se a partir dos 57,63 DAA até 95,00 DAA, último dia de avaliação. Essa fase foi caracterizada pela estabilização nas dimensões e no acúmulo de massa fresca. Nesse período ocorreu a ascensão climatérica (dos 52 aos 59 DAA). O climatério respiratório ocorreu aos 66 DAA, com pico de produção de CO2 vi de 110,99 mg de CO2 kg-1 h-1. O pós-climatério ocorreu dos 73 aos 95 DAA, quando houve aumento no teor de sólidos solúveis e queda da acidez titulável e vitamina C da polpa. Nessa fase, o pericarpo dos frutos apresentava-se com coloração alaranjada. Também foram estudados as características físicas e químicas de 35 frutos totalmente maduros, e os dados foram submetidos à análise de correlação de Pearson. Observou-se grande variação entre os valores obtidos para cada característica. Verificaram-se correlações significativas entre a maioria das características físicas avaliadas. O diâmetro equatorial e o comprimento do fruto apresentaram alta correlação positiva com a massa fresca do fruto, 0,9687** e 0,9647**, respectivamente. O diâmetro equatorial e o comprimento não se correlacionaram significativamente com a percentagem de polpa, indicando que frutos maiores e com maior massa fresca não necessariamente têm maior rendimento de polpa. O ângulo hue apresentou correlação negativa com a massa fresca (-0,2958*), indicando que frutos com maior massa fresca apresentam coloração da casca menos alaranjada. Em relação às características químicas, a maioria das correlações não foi significativa. Com o trabalho não foi possível encontrar nenhum critério não destrutivo para definir ponto de colheita dos frutos.