<p> Scene recognition performance is reduced when an observer undergoes a viewpoint shift. However, the cost of a viewpoint shift is less when it is caused by observer locomotion around a scene compared to scene rotation in front of a stationary observer- a phenomenon called the facilitative effect of locomotion. The present dissertation examined the characteristics of the facilitative effect of locomotion, and the mechanism underlying its existence. In each of six experiments, participants learned a spatial arrangement of five identical objects positioned on top of a rotatable table. Participants were then blindfolded and one object was relocated. Simultaneously, participants underwent a viewpoint shift of various magnitudes. The blindfold was then removed and participants identified which object had been moved. Chapter One showed that the facilitative effect of locomotion is robust across a wide range of viewpoint shifts (Experiment la), and that visual cues in the surrounding environment cannot account for this effect (Experiment lb). The results of Chapter Two suggest that active control over the viewpoint shift may partially account for the benefit of locomotion (Experiment 2a), specifically by providing participants with explicit knowledge regarding the magnitude and direction of the viewpoint shift (Experiment 2b ). Finally, Chapter Three showed that body-based cues available during locomotion (i .e. proprioceptive, vestibular, etc.) facilitate performance beyond actively controlling the viewpoint shift alone, and that those cues must be reliable and undisrupted to confer a scene recognition advantage (Experiment 3a). On the other hand, simply remaining oriented within one's environment could not fully account for the facilitative effect of locomotion (Experiment 3b ). These results provide an integrative account of the characteristics and mechanism associated with the facilitative effect of locomotion. Results are also discussed in the context of current views on egocentric and object-based mental transformations. </p> / Thesis / Master of Science (MSc)

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This thesis investigates the mechanisms underlying the formation, maintenance, and sharing of reference in tasks in which language and vision interact. Previous research in psycholinguistics and visual cognition has provided insights into the formation of reference in cross-modal tasks. The conclusions reached are largely independent, with the focus on mechanisms pertaining to either linguistic or visual processing. In this thesis, we present a series of eye-tracking experiments that aim to unify these distinct strands of research by identifying and quantifying factors that underlie the cross-modal interaction between scene understanding and sentence processing. Our results show that both low-level (imagebased) and high-level (object-based) visual information interacts actively with linguistic information during situated language processing tasks. In particular, during language understanding (Chapter 3), image-based information, i.e., saliency, is used to predict the upcoming arguments of the sentence, when the linguistic material alone is not sufficient to make such predictions. During language production (Chapter 4), visual attention has the active role of sourcing referential information for sentence encoding. We show that two important factors influencing this process are the visual density of the scene, i.e., clutter, and the animacy of the objects described. Both factors influence the type of linguistic encoding observed and the associated visual responses. We uncover a close relationship between linguistic descriptions and visual responses, triggered by the cross-modal interaction of scene and object properties, which implies a general mechanism of cross-modal referential coordination. Further investigation (Chapter 5) shows that visual attention and sentence processing are closely coordinated during sentence production: similar sentences are associated with similar scan patterns. This finding holds across different scenes, which suggests that coordination goes beyond the well-known scene-based effects guiding visual attention, again supporting the existence of a general mechanism for the cross-modal coordination of referential information. The extent to which cross-modal mechanisms are activated depends on the nature of the task performed. We compare the three tasks of visual search, object naming, and scene description (Chapter 6) and explore how the modulation of cross-modal reference is reflected in the visual responses of participants. Our results show that the cross-modal coordination required in naming and description triggers longer visual processing and higher scan pattern similarity than in search. This difference is due to the coordination required to integrate and organize visual and linguistic referential processing. Overall, this thesis unifies explanations of distinct cognitive processes (visual and linguistic) based on the principle of cross-modal referentiality, and provides a new framework for unraveling the mechanisms that allow scene understanding and sentence processing to share and integrate information during cross-modal processing.

A categoria cena é utilizada neste trabalho para auxiliar na descrição da sociabilidade e dos espaços usados pelos pixadores em Vitória. Esta categoria de análise é descrita tanto a partir de uma abordagem do conceito de Will Straw, e da forma como o termo aparece nas interlocuções. A pixação é compreendida nesta pesquisa como uma das vertentes do graffiti, e por isso trazemos uma discussão bibliográfica sobre os usos dos termos graffiti e pixação. Para apresentar a cena da pixação em Vitória, partimos territorialmente do aglomerado metropolitano de Vitória. Devido à maneira como a cena da pixação se conforma em Vitória realizamos uma aproximação histórica da cena do graffiti e sobre o entrelaçamento das cenas do graffiti e da pixação ao longo do tempo e os momentos em que tornam-se autônomas, a cena do graffiti em relação ao hip hop e a da pixação em relação ao graffiti. / The scene category is used in this work to assist in describing the sociability and spaces used by the pixadores in Vitoria. This category of analysis is described both from an approach to the concept of Will Straw, and from the way the term appears in interlocutions. The pixação is understood in this research like one of the slopes of the graffiti, and therefore we bring a bibliographical discussion on the uses of the terms graffiti and pixação. In order to present the scene of the pixação in Vitoria, we depart territorially of the agglomerate metropolitan of Vitoria. Due to the way in which the scene of the pixação is conformed in Vitoria we make a historical approximation of the graffiti scene and the interweaving of the scenes of graffiti and the pixação through the time and the moments in which they become autonomous, the graffiti scene in relation to hip hop and graffiti.

Thesis advisor: Sean P. MacEvoy / For humans, healthy and productive living depends on navigating through the world and behaving appropriately along the way. But in order to do this, humans must first recognize their visual surroundings. The technical difficulty of this task is hard to comprehend: the number of possible scenes that can fall on the retina approaches infinity, and yet humans often effortlessly and rapidly recognize their surroundings. Understanding how humans accomplish this task has long been a goal of psychology and neuroscience, and more recently, has proven useful in inspiring and constraining the development of new algorithms for artificial intelligence (AI). In this thesis I begin by reviewing the current state of scene recognition research, drawing upon evidence from each of these areas, and discussing an unchallenged assumption in the literature: that scene recognition emerges from independently processing information about scenes’ local visual features (i.e. the kinds of objects they contain) and global visual features (i.e., spatial parameters. ). Over the course of several projects, I challenge this assumption with a new framework for scene recognition that indicates a crucial role for information sharing between these resources. Development and validation of this framework will expand our understanding of scene recognition in humans and provide new avenues for research by expanding these concepts to other domains spanning psychology, neuroscience, and AI. / Thesis (PhD) — Boston College, 2016. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Psychology.

A categoria cena é utilizada neste trabalho para auxiliar na descrição da sociabilidade e dos espaços usados pelos pixadores em Vitória. Esta categoria de análise é descrita tanto a partir de uma abordagem do conceito de Will Straw, e da forma como o termo aparece nas interlocuções. A pixação é compreendida nesta pesquisa como uma das vertentes do graffiti, e por isso trazemos uma discussão bibliográfica sobre os usos dos termos graffiti e pixação. Para apresentar a cena da pixação em Vitória, partimos territorialmente do aglomerado metropolitano de Vitória. Devido à maneira como a cena da pixação se conforma em Vitória realizamos uma aproximação histórica da cena do graffiti e sobre o entrelaçamento das cenas do graffiti e da pixação ao longo do tempo e os momentos em que tornam-se autônomas, a cena do graffiti em relação ao hip hop e a da pixação em relação ao graffiti. / The scene category is used in this work to assist in describing the sociability and spaces used by the pixadores in Vitoria. This category of analysis is described both from an approach to the concept of Will Straw, and from the way the term appears in interlocutions. The pixação is understood in this research like one of the slopes of the graffiti, and therefore we bring a bibliographical discussion on the uses of the terms graffiti and pixação. In order to present the scene of the pixação in Vitoria, we depart territorially of the agglomerate metropolitan of Vitoria. Due to the way in which the scene of the pixação is conformed in Vitoria we make a historical approximation of the graffiti scene and the interweaving of the scenes of graffiti and the pixação through the time and the moments in which they become autonomous, the graffiti scene in relation to hip hop and graffiti.

"Global illumination (GI) rendering simulates the propagation of light through a 3D volume and its interaction with surfaces, dramatically increasing the fidelity of computer generated images. While off-line GI algorithms such as ray tracing and radiosity can generate physically accurate images, their rendering speeds are too slow for real-time applications. The many-light method is one of many novel emerging real-time global illumination algorithms. However, it requires many shadow maps to be generated for Virtual Point Light (VPL) visibility tests, which reduces its efficiency. Prior solutions restrict either the number or accuracy of shadow map updates, which may lower the accuracy of indirect illumination or prevent the rendering of fully dynamic scenes. In this thesis, we propose a hybrid real-time GI algorithm that utilizes an efficient Sparse Voxel Octree (SVO) ray marching algorithm for visibility tests instead of the shadow map generation step of the many-light algorithm. Our technique achieves high rendering fidelity at about 50 FPS, is highly scalable and can support thousands of VPLs generated on the fly. A survey of current real-time GI techniques as well as details of our implementation using OpenGL and Shader Model 5 are also presented."

<p><strong>Syfte:</strong> Syftet med denna studie var att undersöka ambulanssjuksköterskors upplevelser av arbete på skadeplats med en till fyra drabbade personer. <strong>Metod:</strong> Fyra män och fyra kvinnor, med en erfarenhet mellan två och elva år av ambulanssjukvård, deltog i studien. Semistrukturerade intervjuer genomfördes och data analyserades med innehållsanalys. <strong>Resultat:</strong> Sju kategorier identifierades: Kommunikation, Ledarskap, Medicinskt omhändertagande, Rutiner och riktlinjer, Organisation, Personlighet och relationer, samt Samverkan. Skadeplatsarbetet sker utanför sjukhusets kontrollerade verksamhet. Att varje gång anpassa sig till situationen, omhänderta, leda och organisera arbetet är det som krävs av en ambulanssjuksköterska. Samtidigt ställs stora krav på den omkringliggande organisationen inklusive alla övriga resurser, på att kunna samarbeta och fungera som grupp.<strong> Slutsats:</strong> Skadeplatsarbetet kräver en organisation som måste fungera i minsta detalj och samtidigt alltid förbättra sig. Då många av de upplevda problemen ansågs bero på personlighet och relationer så kräver det dessutom att personalen är stresstålig, ödmjuk, social, kreativ och noggrann.</p> / <p><strong>Aim:</strong> The aim with this study was to analyze the ambulance nurses experiences from working at the trauma scene, with up to four injured patients. <strong>Method:</strong> four men and four women, with a two to eleven years time of experience in the ambulance service, participated. Data from qualitative interviews were analyzed with content analysis. <strong>Result:</strong> Seven categories were identified: Communication, Leadership, Medical treatment, Routines and guidelines, Organization, Personalities and relations, and finally Cooperation. An ambulance nurse needs to be able to adapt to any given situation. To nurse and treat, to lead and organize the activity at the trauma scene, is some things that could be asked from the nurse. A great requirement is also put on the surrounding organization, including all other resources, to cooperate and to function as a team. <strong>Conclusion:</strong> Professional work at the trauma scene demands an organization that needs to function in any unique situation. At the same time it’s just as important that this organization continuously improves. Experiences from problems in prehospital work could be related to personalities and relations between colleagues. This shows the importance of personnel that can handle stress, show humbleness, empathy and skills of being creative, social and precise.</p>