L'édition, la création, et le design digital mènent la flexibilité des ordinateurs vers l'acte de création. La quasi-absence de conséquences par l'expérimentation peut être à la fois une bonne et une mauvaise chose. Bien que la flexibilité des ordinateurs encourage l'exploration d'idées artistiques, elle peut également la freiner, en proposant trop d'options mal-adaptées. Un grand défi pour le développement des logiciels graphiques aujourd'hui est de tirer parti de la flexibilité sans précédent des ordinateurs, tout en offrant à l'utilisateur le niveau de contrôle adapté à ses besoins. La difficulté quand on développe un tel système est fortement influencée par l'attente que l'utilisateur place dans le travail effectué par l'ordinateur. L'ordinateur étant considéré comme un assistant dans le processus de création, on attend de lui qu'il soit 'assez intelligent' pour mériter ce rang. Habituellement, nous n'acceptons pas bien quand le résultat d'une telle assistance n'est pas satisfaisante. Cependant, le niveau d'attente et, par conséquence, de satisfaction, varie en fonction de l'utilisateur. Les utilisateurs novices ont tendance à être moins exigeants et sont satisfaits quand ils peuvent créer des résultats intéressants avec peu d'intervention humaine. Les utilisateurs professionnels, d'un autre côté, ont des besoins différents. Ils recherchent des logiciels assez performants pour automatiser leurs taches, mais qui leur laissent assez de contrôle sur le résultat obtenu. Pour cette catégorie d'utilisateurs, plus l'impact du logiciel sur le résultat est important, plus ils veulent avoir le contrôle sur la façon dont est obtenu ce résultat. Dans cette thèse, nous démontrons que l'ordinateur peut être un assistant précieux dans le processus de création visuel du moment que des systèmes d'interaction adaptés existent. L'adaptation est donc un aspect important car, à différents niveaux, les utilisateurs veulent pouvoir contrôler le résultat afin d'exprimer leur style et leur créativité. La thèse présente deux scénarios différents qui démontrent que la contrôlabilité joue un rôle majeur dans l'expressivité : une technique temps-réel pour grouper des scènes 3d dynamiques pour obtenir automatiquement un résultat sur lequel on peut facilement appliquer un style de rendu arbitraire; et plusieurs dérivées d'une primitive de dessin vectoriel appelée Diffusion Curves qui contraignent et contrôlent la création de dégradés de couleurs complexes. La thèse propose, d'un coté, des représentations mathématiques et algorithmiques adaptées avec différents niveaux de contrôle sur les algorithmes de rendu expressif qui manipulent des scènes bi et tridimensionnelles; et, d'un autre coté, de traduire ces outils en interface intuitive pour l'utilisateur.

影像風格化是一種改變輸入影像的重要技術，其用來加強圖像的特徵並傳達視覺上的資訊，其中圖案的形狀與分布構成的風格化的基本要素。然而對於初學者而言，設計一個新的風格化圖案以及適當的分佈配置是不容易的。在本文中，提出了一個使用異向性反應擴散的圖像風格化以及圖案生成的方法，並從已知的反應擴散圖案為基礎做延伸，同時保有反應擴散的自我組織圖案的特性。為了能夠有效的控制圖案的生成，利用調整後的異向性擴散用來控制圖案的形狀並結合流場調整圖案的排列。圖案的大小、密度、方向以及風格化樣式可藉由閥值的調整以及顏色映射加以控制。最後本系統用來生成剪紙、風格化半色調影像以及流場的視覺化的結果以突顯本系統之特色。 / Image stylization is an essential technique to create the style of input images, enhance image features, and express visual cues. The shape and distribution of the primitive are essential elements in stylization. However, designing a new pattern or creating an appropriate distribution can be challenging for novice users. In this paper, an anisotropic reaction diffusion system for image stylization and pattern generation is proposed. This system starts from modify existed reaction diffusion formula, but keeps the behaviors of reaction diffusion: self-organized patterns, stable pattern generation and multiple styled pattern. To enable more effective control over pattern generation, the proposed method utilizes a set of modifications on anisotropic diffusion to control shape and introduces a flow field to guide pattern arrangement. The size, density, orientation, and pattern style can be controlled by thresholding and toon mapping. The proposed system was used to generate images in the paper-cut, stylized halftone, and flow visualization, and the results are presented to highlight the control factors of the proposed system.

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2017-05-26T16:22:52Z No. of bitstreams: 2 Tese - Humberto Pires da Paixão - 2017.pdf: 3792952 bytes, checksum: 432bbd8ddabd839209bbb3179988cc57 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-05-26T16:23:33Z (GMT) No. of bitstreams: 2 Tese - Humberto Pires da Paixão - 2017.pdf: 3792952 bytes, checksum: 432bbd8ddabd839209bbb3179988cc57 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-05-26T16:23:33Z (GMT). No. of bitstreams: 2 Tese - Humberto Pires da Paixão - 2017.pdf: 3792952 bytes, checksum: 432bbd8ddabd839209bbb3179988cc57 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-05-05 / This present work aims at describing and analysing the articulation between power and resistance in the fashion device, that is, investigating the possibility of resisting to the power upon which fashion is established, as being supported in certain knowledge fields as well as source of subjectivity. As a theoretical-methodological apparatus, this analysis opted for Michel Foucault's formulations and their contributions to the French Discourse Analysis, especially as to its concept of devices in order to debate the power relations, the subjectivity and the counter-behaviour in the society of control. From a pathway inspired by the formulations of the French master, we speculate on the need of strengthening an AD, once his legacy is composed by an arsenal powerful enough to deal with the hybrid discourses present today. We also seek to resume the notions of device, power, knowledge, subject and resistance by current reinterpretations made by some authors such as Gilles Deleuze, Paul Veyne and Giorgio Agamben, among others. In this sense, we pursuit to update these debates, as well as contemplating the possibility of comprehending fashion – our object of research – in the list of mechanisms that compose the biopolitics scenario in current days, its incidence on the bodies and, mainly, on the population. Keeping in mind that it is only possible to exert power over a universe where liberty is a sine qua non condition, we review the concept of power and resistance so that it would be possible to analyse some cases in which such action would take form. As a result of this movement of renewals and updates, it became necessary to examine the concept of style and its relation to the parameters of forces and escape, as well as the relationship between subjectivity and stylization. For this, the notion of device made possible the apprehension of the contours and movements proper to fashion, because, in the case of an operational or strategic concept, that turns to practices (concrete or discursive), with it can capture these processes of constitution of subjectivities. In the course of this work, which corpus was built upon texts of different discursive genders extracted from the media universe, we found the confirmation of our hypothesis, that is, in the realm of fashion device, resistance is always reutilized in benefit of the maintenance and development of its own device. / A presente tese tem por objetivo descrever e analisar a articulação entre poder e resistência no dispositivo da moda, ou seja, investigar, em enunciados efetivamente produzidos, a possibilidade de resistir ao poder de que se constitui a moda, poder esse amparado em determinados saberes e produtor de subjetividades. Como aparato teórico-metodológico, optou-se pelas formulações de Michel Foucault e seu imbricamento com os postulados da Análise do Discurso francesa (AD), especialmente em seu conceito de dispositivo, para discutir as relações de poder, a subjetivação e a contraconduta na sociedade de controle. A partir de um percurso inspirado nas formulações do mestre francês, especulamos sobre a necessidade de se fortalecer uma AD foucaultiana, já que seu legado constitui-se de um arsenal potente para lidar com os discursos híbridos presentes na atualidade. Também buscamos retomar as noções de dispositivo, poder, saber, sujeito e resistência, por meio das releituras atuais feitas por alguns autores, como Gilles Deleuze, Paul Veyne, Giorgio Agamben, dentre outros. Nesse sentido, procuramos atualizar essas discussões, inserindo nelas a possibilidade de tratar a moda, nosso objeto de pesquisa, no rol dos dispositivos que compõem o cenário biopolítico da contemporaneidade, em sua incidência sobre os corpos e, sobretudo, sobre a população. Tendo em mente que só é possível o exercício do poder num universo em que a liberdade seja sua condição sine qua non, empreendemos a revisão do conceito de poder e resistência para que pudéssemos analisar alguns casos em que tal ação se materializasse. Como decorrência desse movimento de retomadas e atualizações, fez-se necessário, dada a sua reiteração nos textos analisados, examinar o conceito de estilo e sua relação com as linhas de forças e de fuga, bem como a relação entre a subjetivação e a estilização. Para tanto, a noção de dispositivo possibilitou a apreensão dos contornos e movimentos próprios da moda, pois, em se tratando de um conceito operacional ou estratégico, que se volta para as práticas (concretas ou discursivas), com ele pode-se capturar esses processos de constituição de subjetividades. Durante o trabalho, cujo corpus se constituiu a partir de textos de diferentes gêneros discursivos extraídos do universo midiático, detectou-se a confirmação de nossa hipótese de que, no dispositivo da moda, a resistência é sempre reaproveitada em favor da manutenção e do desenvolvimento do próprio dispositivo.

Philosophiae Doctor - PhD / In highly mobile societies, the voice and agency of speakers will differ across contexts depending on the linking of forms and functions. This thesis is thus about the complexities introduced to the notion of (form-function linkages) multilingualism in late-modern globalizing and mobile Cape Town in transition. Essentially, it takes its point of departure in the idea that multilingualism is a 'spatial concept', i.e. the form that interacting languages take, how they are practiced by speakers and how multilingualism is perceived, is determined to a large extent by the affordanees of particular 'places'. In order to research this, I postulate that a major parameter in the organization and differentiation of places is that of scale. The thesis studies two research sites that can be considered as diametrical opposites on a scale from local (descaled) to translocal (upscaled), namely Hip-Hop performances at Stones, Kuilsriver, and Mzoli's Meat at Gugulethu. Although both sites are found in local townships, they differ in terms of their basic semiotics. That is to say, to what extent the interactions, physical spaces, and activities, are infused with local meaning and local values (downscaled in the case of Hip-Hop) - granted this may be a problematic concept - and to what extent the semiotics of place areoriented towards upscaling or transnational values and practices (upscaled in the case of Mzoli's Meat). Each of these sites is characterized in terms of the assemblage of trans modal semiotics that contribute to defining it as a place of descaling and upscaling (buildings, linguistic landscapes, patterns of interaction and movement and posture, stylizations of selves, artifactual identities (car makes, et cetera). We find that the Hip-Hop site is 'predominantly' local in branding, in who participates, and in the linguistic landscape and the aesthetics of photographic embroidery. Mzoli's Meat, on the other hand, with its ATMs, sit-down-for-tourist-spaces, and international website, is very much more upscaled. A discussion of 'normative orders of multilingualism' pertinent or dominant in each site is also provided. Thus in the local or descaled site of Hip-Hop, a core ordering of multiple languages is in terms of economic value (consumption) with respect to what each language, or variety of language, contributes to 'keeping it real', that is, creating 'extreme locality'. Repertoires are 'ordered' - discussed - and seen to evolve and gain value in terms of a particular social trajectory of speakers, namely their trajectory and history - as temporally narrated - towards becoming a Hip-Hop head and a key actor in 'keeping it rear. In the context of Mzoli's Meat, the semiotics of the upscaled market generate talk about and perceptions of multilingualism in terms of the translocal encounter -linguistic/multilingual repertoires are seen as relevant to, or organized along the lines, of the temporary encounter, and in respect to the value of the languages in facilitating translocal engagements (Dutch, English). Thus, we note how the notion of repertoire is a fluid concept that can be organized and talked about in relation to different standards, trajectories, determined by normative orders of different scaled spaces. Returning to the key question addressed of how these spaces are semiotically constituted and how they constrain or 'prototypically' facilitate particular kinds of voice and agency in more detail, the thesis introduces key concepts of performance, stylization, entextualization and enregisterment. A key feature of doing or constituting places from spaces is the kind of interactions, participants and linguistic eonstruals/productions that take place there. In a highly multilingual society, places/spaces are often normatively contested or contestable. The theoretical concepts provide the framework for charting how different personae are voiced through, that is, entextualized and stylized in the interaction of different languages (in relation to the normative order or in how the combination of languages in voices and their competition more or less successfully enacted or perform the personae/voice), and how these voices/personae are enreqistered, thatis, the competitive processes in the linguistic conventionalization of the voices, and in the simultaneous construction of the downscaled and upscaled spaces. Thus, in the Hip-Hop context, the multilingual voices are designed to produce local personae, whereas in Mzoli's Meat, the performed personae on linguistic display are various and normatively transgressing, emphasizing polycentric normativities as against the mono centric normativity of the downscaled and extreme local context. Enregisterment is shown in the Hip-Hop context to be driven by the construction of extreme locality, whereas in Mzoli's Meat, the performance by the comedian of translocal and mobile voices serve to enregister a translanguaged variety of multilingualism. Thus, we see here how different normative orders of multilingualism (that is different values, forms and combinations oflanguages) that are afforded by the scaled nature of particular places, are layered into and through different social personae or voices. In fact, it is the (semiotic) work in stylizing and entextualizing these voices, and in enregistering them that help produce these differently scaled places (in conjunction with other semiotic means as noted above). How then do these findings inform the issue of linguistically mediated agency in mobile societies? Much politics takes place outside of the formal spheres and institutions of society. Popular spaces are central political sites where a variety of everyday micro and macro-sociopolitical issues are dealt with. In this thesis, we find among other issues dealt with is that 'authenticity' within the Hip-Hop context is a predominant issue, and in Mzoli's Meat, the social political issues of the day are racialized encounters and their implications. In each of these sites, language and multilingualism is paramount in (a) positioning political interests (through personae and voices) and (b) in contesting and working through the normativities of the place in question. Thus, agency emanates from the ability of the speaker to appropriately position the (linguistically mediated) voice/personae in a contested and scaled space in a way that this voice becomes enregistered, and thus legitimated and 'heard'. This is a process of possible transgression - or at least competition - on the one hand, as well as creative 'conformity' or repetition of registers and repertoires according to fluid, constructed normativities. What this then reveals is the value of a concept of linguistic or multilingual citizenship, which is here taken to refer to the agency constituted through non-institutional means where language negotiations are transgressive and central to the creation of a normative order of (local) voices. Therefore, this thesis provides an insight into the complexities of agency (en registered, scaled voice) in mobile, multilingual and scaled Cape Town.

本論文企圖探討流行音樂創作者的風格形塑歷程。以伍佰為例，針對他自1990年到台北流行音樂圈開始發展後，一路至今(2014)的歷程進行深度的觀察與分析。試圖建立對於創作風格的形塑與轉變，提供一個理論的觀點。討論：1. 流行音樂創作者的個人風格如何形成？ 2. 流行文化和個人風格的互動關係為何？3. 隨著社會或自身的改變，創作者的如何回應，不斷開創自身風格？ 流行音樂產業當中唱片業因為科技的改變而衰退，當今現場表演才是創作者和表演者的能展現風格的和售票獲利的真實場域。但創作者要怎麼樣才能擁有自己的「風格」？而在風格一詞的多義性，已經在各個領域展開，從描述人格、作品、髮型、聲音，甚至life style都翻譯成「生活風格」的時刻，風格到底是什麼？本研究試圖以生命故事的角度，以及現場的觀察，來深度描寫創作者的故事。並從故事中，探索伍佰何以風格獨俱，以及他在市場上屹立不搖二十多年的原因。 簡述個案分析結論如下。對流行音樂創作者而言，「個人風格」是生命(life)內容找到合適的美學形式(Form)後，所進行展演的一種身體能力。風格形成的歷程，就是「生命」與「形式」校準的過程。流行音樂創作者獨特的個人風格來自於真實的生命經驗，且需要透過個人在社會與流行文化中習得的美學形式才能進行展演。 而「模仿」是生命尋找形式的最初起點。當自主表達的慾望大過講求普遍性的社會壓力時，一個流行文化的模仿者，才能成為創作者，開始尋找個人風格。經由不斷「感知」流行文化中不符合「自我」的部分，而使「自我形象」浮現，進而拒絕某些創作元素，並且建立符合「自我形象」的品味和創作路線。透過多元的實驗，去感受各種創作元素更動所造成的差異，厚積「美學展演的實作能力」，才能創造性地實踐與流行文化有所區別的個人風格，進而取回對自己生命內容的詮釋權。而「個人風格的出現」與否，則可由流行音樂創作者對於同一作品的不同詮釋與演繹是否具有辨識度來進一步觀察。反之也能從創作者受他人模仿的呈現中，觀察其個人風格明顯之處。 隨著社會或自身的改變，作品必須要能夠真實反映創作者的生命，因此持續更新個人風格的要領，就在於能夠不斷「破壞自己原有的樣子」，避免「自我複製」，但同時仍以真實的生命經驗和敏銳觀察進行創作，才不會落入為破壞而破壞的陷阱，迷失自我。 / This paper attempts to explore the stylization of pop music singer-songwriter. Wu Bai is the case we study. By looking through his music journey since 1989, we try to discover the story behind his stylization. The research questions are (1) As a Pop Music Singer-Songwriter, how to have one’s own style.(2) What is the interaction between popular culture and personal style？(3)As time goes by, how does a creator change or renew his/her own style to respond to oneself and the market？ Summarized as follows: To have “personal style” means a pop music singer-songwriter is capable to find the suitable “form” for his own “life” in his performance. Therefore, we believe that personal style is a kind of physical ability. Stylization is the interaction of life and form. A unique personal style comes from one’s real life experiences, and the aesthetic form have to be learned from society and popular culture. It takes a lot of practice to build one’s way to present. “Imitation” is the starting point of stylization. When the desire for self-expression is greater than the universality from social pressure, imitators could become creators, embark on the journey to pursue personal style. To reject the part in popular culture which does not fit, so that self-image emerges. Once a creator get familiar with oneself, who can establish creative style which fit whose self-image. By feeling the difference between every creative element through practice, one can learn the practical skills of aesthetic performances. After this, one could have personal style that differ from popular culture, and retrieve the right to interpret one’s own life. Everything in life changes, the work must be able to reflect the real life of the creator. Therefore, the essentials of renewing one’s personal style are "destroy one’s original appearance," "avoid self-replicating", and” always remember who you are”, so one will not be lost in the forest of stylization.

Morphable guidelines are a 3D structure that helps users achieve better face warping on 2D portrait images. Faces can be difficult to warp accurately because the rotation of the head affects the shape of the facial features. I bypass the problem by utilizing the popular Loomis ‘ball and plane’ head drawing guideline as a proxy structure. The resulting ‘morphable guidelines’ consist of a simple 3D head model that can be reshaped by the user and aligned to their input image. The vertices of the model go on to act as deformation points for a 2D image deformation algorithm. Thus, the user can seamlessly transform the face proportions in the 2D image by transforming the proportions of the morphable guidelines. This system can be used for both retouching and caricature warping purposes, as it is well-suited for both subtle and extreme modifications. This system is advantageous over previous work in face warping because our morphable guidelines can be used on a wide range of head orientations and do not require the generation of a full 3D model. / Graduate / 0984 / syugao@gmail.com

This thesis deals with the problematics of stylization in figural sculpture creation with regard to realizations of chosen sculptors of 20th century. Thesis is devided into a theoretical part and a practical part. The theoretical part discusses some of the formal possibilities of stytization and its application in sculptural creation. Basic artistic means of expression and some determinants of sculptural creation together with nonverbal means are analyzed and used in characterictics of sculptural artworks of some Czech creators of 20th century. The practical part consists of a series of sketches, studies and variants of figural stylization, that applicates findings emerged from the theoretical part.

This thesis evaluates and tests different methods utilized to produce a 2D aesthetic within a 3D pipeline, as in, converting 3D geometry to an aesthetic that is similar to hand-drawn classic films such as Snow White And The Seven Dwarfs. This thesis explores methods to produce both exterior and interior lines that indicate shape and form of 3D models, the conclusion from the tested methods leaves with the statement that it is unlikely the human factor will be ever entirely replaced by automated solutions, and instead a mixed approach with shader relied solutions and involvement of texturing techniques which provides artistic controls where necessary, is deemed to be the most effective way of preserving the hand-drawn 2D aesthetic within a 3D-pipeline.

Title: Dialectal elements in Czech acted cinema of the 30s and 40s Author: Petr Farkaš Department: Film Studies Department Supervisor: Doc. PhDr. Ivan Klimeš Abstract: The subject of this diploma thesis is a reflection on the possible uses of spoken language in films aimed at dialect as one of the substandard forms of Czech national language. In particular, the thesis focuses on the use of Moravian dialectal elements in the language of the film characters in Czech acted cinema made in the 1930s and 1940s. It evaluates the Moravian applied dialect from the phonetic and lexical point of view and analyses its function. The aim of the thesis is an evaluation and generalization of the possible uses of dialectal elements in cinematographic work. Keywords: folklore, dialect, artwork language, stylization of spoken language, spoken language in films.

This diploma thesis Analysis of the Czech translation of Yuri Vynnychuk's collection of short stories Chachacha is devoted to the analysis of translation solutions of selected linguistic features in two short stories - Chachacha and Kulparkiv, aneb Chachacha 2. The goal of this work is to assess translation methods of Rita Kindlerová, describe its possible positives and negatives. Introductory chapters deal with the biography of Yuri Vynnychuk, his classification in a literal context, general characteristics of his work and consequently the stylistic analysis of two excerpted texts. An integral part of the work is definition of theoretical base for translatological analysis. Main parts of the work are focused on the analysis of translation of specific linguistic features, which are the stylistic dominants of selected texts: stylization of speech, style differentiation, phraseme and selected culture- specific items with an emphasis on proper nouns.