Made available in DSpace on 2016-04-26T18:14:11Z (GMT). No. of bitstreams: 1 Amanda Bastos Mareschi Aggio.pdf: 1378221 bytes, checksum: ec8addc054040f22f31905d710f42d58 (MD5) Previous issue date: 2014-06-10 / This thesis aims to study the media devices in the Internet, where biopolitcs tools put the digital spectator as part of a system which capitalize on his views. The hypothesis proposed here suggests that games of power maintain the modus operandi of the representation media in the Web and encourage the digital spectator to be a viewing worker by remunerating him as long as there is proof of his existence. Expecting to understand what maintains the spectator in this function of viewing worker, this research used case studies to exemplify these games of power that eventually falls on him. Some questions emerged when studying how some entertainment tools work: how the interactivity offered by new digital technologies have resulted in overcoming the stigma of passivity of the traditional spectator? In order to avoid the dogmatic discourse on the supposed passivity of the spectator, it was necessary to devote a chapter of research to understand the system of thought that maintains the opposition between passivity and activity. From the book The emancipated spectator, Jacques Rancière, it was identified in contemporary media devices the perpetuation of the supposedly extinct traditional critical thinking, but in its inverted form. The theoretical conversation between Rancière and Didi-Huberman revealed points of agreement between their theories, such as the need to go beyond the understanding of image and viewer by understanding the operation of the machine. This demand for clarifying how to operate devices was met through the study of Foucault's biopolitics, which led to concepts that offered the ultimate coherence: a) the subjection (Foucault) to others allowing the viewer to the construction of his identity; b) viewing as work (BUCCI) as the capital shifted to the competent body of homo economics / O objetivo principal desta pesquisa é investigar dispositivos midiáticos na Internet onde mecanismos biopolíticos posicionam o espectador digital como parte de um sistema que capitaliza o seu olhar, depositando a partir dele certo valor monetário no material visto. Para responder ao problema, a hipótese elaborada sugere que esse jogo de forças que sustenta o modus operandi de algumas mídias de representação na Web convoca o espectador digital a ser trabalhador do olhar e o remunera com a comprovação da sua existência. A fim de compreender o que leva o espectador a manter-se nessa posição de trabalhador do olhar diante dos dispositivos de quantificação de visualizações (views) disponíveis em algumas mídias, a pesquisa partiu do estudo de casos que exemplificam esse jogo de forças o qual recai eventualmente sobre ele. A apresentação de como funcionam algumas ferramentas digitais de entretenimento levantou questões como: a interatividade proporcionada pelas novas tecnologias digitais resultou na superação do estigma de passividade do espectador tradicional? Com o intuito de evitar o discurso dogmático sobre a suposta passividade do espectador, foi necessário dedicar um capítulo de pesquisa à compreensão do sistema de pensamento que sustenta o embate entre passividade e atividade. A partir do livro O espectador emancipado, de Jacques Rancière, identificou-se a persistência do pretensamente superado pensamento crítico tradicional - em sua forma invertida - nos dispositivos midiáticos contemporâneos. A conversa teórica entre Rancière e Didi-Huberman revelou pontos de conformidade entre suas teorias, como a necessidade de ir além do entendimento da imagem e do espectador e de compreender o funcionamento da máquina. Essa demanda pelo esclarecimento da forma de operar dos dispositivos foi satisfeita pelo estudo da biopolítica foucaultiana, levando esta pesquisa ao encontro dos conceitos que lhe ofereceram a coerência necessária para finalizá-la: a) a sujeição (FOUCAULT) como aquilo que permite ao espectador a construção de sua identidade, e b) o olhar como trabalho (BUCCI) enquanto o capital deslocado para o corpo competente do homo oeconomicus

No description available.

Java Pathfinder (JPF) is a tool to debug Java-based software running multiple threads or processes, with a textual output that be may hard to understand. Recent development introduced the possibility to generate a trace from JPF and visualize it in Trace Compass (TC), a general-purpose trace viewing application. Due to difficulties in maintaining and developing new features for TC, Theia Trace Viewer (TTV) has emerged as the replacement for TC. TTV is a browser-based trace viewer and makes it possible to visualize traces without any download or installation by the user. In this work, we migrate the existing functionality of JPF Trace from TC to TTV and conduct a user study on how TTV supports users analyzing JPF traces. Our results show that TTV is a good start and has great potential, but requires further development before replacing JPF results in textual format. / Java Pathfinder (JPF) är ett verktyg för att hitta fel i Javabaserad mjukvara som exekverar med flera trådar eller processer, där resultat skickas ut som text och kan vara svårt att förstå. Nyligen utvecklades möjligheten att generera ett spår och visualisera i Trace Compass (TC), ett program som kan visualisera olika typer av spårformat. På grund av svårigheter med att underhålla och utveckla nya funktioner för TC, så har Theia Trace Viewer (TTV) vuxit fram som ersättaren för TC. TTV är en webbläsare-baserad traceviewer, där det är möjligt att visualisera spår utan att användaren behöver ladda ner eller installera något. I detta arbete, migrerar vi den befintliga funktionaliteten för JPF Trace i TC till TTV och genomför en användarstudie för att ta reda på hur TTV hjälper användare analysera JPF spår. Vårat resultat visar att TTV är en bra början med god potential, men behöver utvecklas vidare innan det går att ersätta JPF resultat i textformat.

<div>For either entertainment or documenting purposes, people are starting to record their life using egocentric cameras, mounted on either a person or a vehicle. Our target is to improve the utility of these egocentric videos. </div><div><br></div><div>For egocentric videos with an entertainment purpose, we aim to enhance the viewing experience to improve overall enjoyment. We focus on First-Person Videos (FPVs), which are recorded by wearable cameras. People record FPVs in order to share their First-Person Experience (FPE). However, raw FPVs are usually too shaky to watch, which ruins the experience. We explore the mechanism of human perception and propose a biometric-based measurement called the Viewing Experience (VE) score, which measures both the stability and the First-person Motion Information (FPMI) of a FPV. This enables us to further develop a system to stabilize FPVs while preserving their FPMI. Experimental results show that our system is robust and efficient in measuring and improving the VE of FPVs.</div><div><br></div><div>For egocentric videos whose goal is documentation, we aim to build a system that can centrally collect, compress and manage the videos. We focus on Dash Camera Videos (DCVs), which are used by people to document the route they drive each day. We proposed a system that can classify videos according to the route they drove using GPS information and visual information. When new DCVs are recorded, their bit-rate can be reduced by jointly compressing them with videos recorded on the similar route. Experimental results show that our system outperforms other similar solutions and the standard HEVC particularly in varying illumination.</div><div><br></div><div>The First-Person Video viewing experience topic and the Dashcam Video compression topic are two representations of applications rely on Visual Odometers (VOs): visual augmentation and robotic perception. Different applications have different requirement for VOs. And the performance of VOs are also influenced by many different factors. To help our system and other users that also work on similar applications, we further propose a system that can investigate the performance of different VOs under various factors. The proposed system is shown to be able to provide suggestion on selecting VOs based on the application.</div>

Esta tese propõe um estudo das relações entre as instâncias autorais no cinema a partir de um fenômeno cultural que circunda a produção fílmica cinematográfica: o making of documentário. Partindo de uma relação entre a teoria do autor no cinema, as noções de trajetória social e de campo bourdieusianas e a dialética do olhar proposta por Didi-Huberman (2010), a tese tem como objetivo geral compreender como se constrói uma dupla noção de autoria a partir da relação entre duas instâncias autorais instauradas pelo making of documentário: a do diretor do making of e a do diretor do filme. As relações analisadas dizem respeito aos seguintes diretores de making ofs e diretores dos filmes aos quais eles se referem, nos respectivos making ofs documentários selecionados: Les Blank e Werner Herzog, em Burden of Dreams (1982); a dupla Keith Fulton/Louis Peppe e Terry Gillian, em The Hamster Factor and other tales of Twelve Monkeys (1996); Laurent Bouzereau e Steven Spielberg, em The Making of Close Encounters of the Third Kind (2001); Charles de Lauzirika e Ridley Scott, em Dangerous Days: making Blade Runner (2007). A tese está estruturada em quatro partes: 1) Os extrafílmicos: do making of aos caminhos da autoria no cinema; 2) O campo do making of; 3) A trajetória social dos diretores; 4) Encontros possíveis: os autores construídos e os autores desvelados. Na primeira parte situo a configuração dos extrafílmicos enquanto paratextos, donde desponta a esfera da produção e circulação do making of. Evidencio a relevância deste contexto no que se configura enquanto questão-horizonte da tese: a dupla noção de autoria operada pelos making ofs documentários a partir de condições do campo e da dialética do olhar (DIDI-HUBERMAN, 2010) que se insere no espaço dos possíveis (BOURDIEU, 1996a, 1996b). Com base na contribuição teórica de Pierre Bourdieu, na segunda parte proponho a caracterização do campo do making of, demonstrando o espaço que se constitui a partir de disputas em que determinadas instâncias (realizadores, produtores, organizações, festivais e premiações, crítica especializada) pleiteiam reconhecimento no escopo da indústria cinematográfica. Trata-se de delimitar os mecanismos e contextos produtivos próprios, as escolhas e tomadas de posição que reverberam em estilos e formatos diferenciados de making ofs e os agentes e estruturas capazes de legitimar a autonomia do campo. A terceira parte elucida a trajetória social dos diretores implicados na relação making of – filme ficcional. Nesse sentido, demonstro a construção social da autoria referente a Steven Spielberg, Ridley Scott, Terry Gilliam e Werner Herzog, compreendendo o contexto das relações a que suas trajetórias estão submetidas, para, logo após, analisar a trajetória dos diretores dos making ofs Lauren Bouzereau, Charles de Lauzirika, Les Blank e a dupla Keith Fulton e Louis Peppe, estabelecendo as tomadas de posição e as particularidades do percurso de cada um que conduzem às (possíveis) posições autorais. Na quarta parte empreendo a análise da dupla noção de autoria através dos encontros e relações entre as instâncias diretivas nos making of documentários selecionados, operando as seguintes categorias analíticas: (1) agentes e processos produtivos, (2) memória do filme e (3) espaço da autoria. A incursão da análise se desdobra ainda, na percepção sobre as articulações que mobilizam a relação dialética do olhante e do olhado, a fim de compreender as manifestações do autor voyeur – auteur exibicionista e autor flâneur – auteur dândi. É entendimento desta pesquisa que o making of documentário se constitui enquanto uma forma de expressão audiovisual que dá a ver relações de alteridades – dos sujeitos envolvidos na realização cinematográfica a partir da dialética do olhar. De acordo com as maneiras como engendra esse olhar sobre um filme, o making of nos dá a ver diferentes modos de ocupação do espaço autoral. / This thesis proposes the study of the relations between authorials instances in cinema from a cultural phenomenon surrounding the cinematographic production: the making of documentary. Starting from a relationship between the author's theory in film, the notions of social trajectory and field by Pierre Bourdieu (1996a;1996b) and the dialectic of viewing proposed by Didi-Huberman (2010), the thesis has as a general objective to understand how a dual notion of authorship is constructed from the relationship between two authorial instances established by the making of documentary: the making of director and the film director. Relations analyzed concern the following making ofs directors and directors of the films to which they refer, in the respective making of documentaries selected: Les Blank and Werner Herzog, in Burden of Dreams (1982); the team Keith Fulton/Louis Peppe and Terry Gillian, in The Hamster Factor and other tales of Twelve Monkeys (1996); Laurent Bouzereau and Steven Spielberg, in The Making of Close Encounters of the Third Kind (2001); Charles de Lauzirika and Ridley Scott, in Dangerous Days: making Blade Runner (2007). The thesis is structured in four sections: 1) The extrafilmics: from making of to the paths of authorship in film; 2) The field of the making of; 3) The social trajectory of directors; 4) Possible encounters: the constructed authors and the authors unveiled. In the first section I place the configuration of the extrafilmic while paratexts, where dawns the sphere of production and circulation of the making of. I highlight the importance of this context which is configured as a matter-horizon of the thesis: the dual notion of authorship operated by making ofs documentaries from the field conditions and the dialectical view (DIDI-HUBERMAN, 2010) which fall within the space of possibles (BOURDIEU, 1996a, 1996b). Based in the theoretical contribution of Pierre Bourdieu, the second section proposes a carachterization of the making of field, demonstrating the space which constitutes trhoughout disputes in which certain instances (filmmakers, producers, organizations, festivals and awards, critics) claim acknowledgment in the scope of the cinematographic industry. It’s about defining the mechanisms and own production contexts, choices and position-takings reverberating in different styles and making of formats and agents and structures able to legitimize the autonomy of the field. In the third section, I demonstrate the social construction of authorship refering to Steven Spielberg, Ridley Scott, Terry Gilliam e Werner Herzog, understanding the context of the relationship that their trajectories are subject, for, soon after analyze the making of director’s Laurent Bouzereau, Charles de Lauzirika, Les Blank and the team Keith Fulton/Louis Peppe trajectory, establishing the position-takings and course particularities of each one leading to (possible) authorial positions. The fourth section undertakes the analysis of the dual notion of authorship through the encounters between directorial instances in making of documentaries selected, operating the following analytical categories: (1) agents and production process; (2) memory of the film and (3) space of authorship. The incursion of the analysis unfolds also in the perception over articulations that move the dialectical relationship of viewer and viewed, in order to comprehend the manifestations of the voyeur author – exhibitionist auteur and flâneur author – dandy auteur. It’s the understanding of this research that the making of documentary constitutes itself as an audiovisual expression form that displays otherness relations – from the subjects involved in the filmmaking process throughouth the dialectica of viewing. Accordingly to the ways that engender this look over a film, the making of gives us to see different occupation modes of authorship space.

Current research on viewing time measures of sexual attraction fail to explore potential confounding variables of viewing time. One viewing time measure, the LOOK, has been shown to be reliable over time and generally correlated with self-reported sexual orientation but has been unable to differentiate between a non-offending group and an offending group of individuals. This study utilizes the LOOK to examine the relationship between viewing time and a potential confounding variable of viewing time, beauty, using two constructs of beauty (facial beauty and full-body beauty). Facial beauty scores were created by measuring the degree of adherence to four universal standards of beauty shown to correlate with subjective estimates of attractiveness (Schmid, Marx, & Samal, 2006). Given the subjective nature of beauty when viewing the whole body, participants of the study rated the beauty of each LOOK image in its entirety. No significant correlation was found between facial beauty scores and beauty ratings, suggesting these are unrelated constructs. Significant correlations were found between facial beauty scores and male viewing time, and between male beauty ratings and male viewing time. These correlations suggest that further research exploring the extent to which estimates of beauty confound measures of viewing time may increase their discriminative ability and could aid in the development of a norm-referenced procedures for screening and diagnosis.

<p>The purpose of this master thesis, performed at FOI, was to evaluate a range gated underwater camera, for the application identification of bottom objects. The master thesis was supported by FMV within the framework of “arbetsorder Systemstöd minjakt (Jan Andersson, KC Vapen)”. The central part has been field trials, which have been performed in both turbid and clear water. Conclusions about the performance of the camera system have been done, based on resolution and contrast measurements during the field trials. Laboratory testing has also been done to measure system specific parameters, such as the effective gate profile and camera gate distances.</p><p>The field trials shows that images can be acquired at significantly longer distances with the tested gated camera, compared to a conventional video camera. The distance where the target can be detected is increased by a factor of 2. For images suitable for mine identification, the increase is about 1.3. However, studies of the performance of other range gated systems shows that the increase in range for mine identification can be about 1.6. Gated viewing has also been compared to other technical solutions for underwater imaging.</p>

<p>Like the rest of the society modern health care has to deal with the ever increasing information flow. Imaging modalities such as CT, MRI, US, SPECT and PET just keep producing more and more data. Especially CT and MRI and their 3D image stacks cause problems in terms of how to effectively handle these data sets. Usually a PACS is used to manage the information flow. Since a PACS often is implemented with a server-client setup, the management of these large data sets requires an efficient representation of medical image stacks that minimizes the amount of data transmitted between server and client and that efficiently supports the workflow of a practitioner.</p><p>In this thesis an efficient wavelet representation for large medical image stacks is proposed for the use in a PACS. The representation supports features such as lossless viewing, random access, ROI-viewing, scalable resolution, thick slab viewing and progressive transmission. All of these features are believed to be essential to form an efficient tool for navigation and reconstruction of an image stack.</p><p>The proposed wavelet representation has also been implemented and found to be better in terms of memory allocation and amount of data transmitted between server and client when compared to prior solutions. Performance tests of the implementation has also shown the proposed wavelet representation to have a good computational performance.</p>

Accurate earthquake prediction is a difficult, unsolved problem that is central to the ambitions of many geoscientists. Understanding why earthquakes occur requires a profound understanding of many interrelated processes; our planet functions as a massive, complex system. Scientific visualization can be applied to such problems to improve understanding and reveal relationships between data. There are several challenges inherent to visualizing seismic data: working with large, high-resolution 3D and 4D data sets in a myriad of formats, integrating and rendering multiple models in the same space, and the need for real-time interactivity and intuitive interfaces. This work describes a product of the collaboration between computer science and geophysics. TerraVis is a real-time system that incorporates advanced visualization techniques for seismic data. The software can process and efficiently render digital elevation models, earthquake catalogs, fault slip distributions, moment tensor solutions, and scalar fields in the same space. In addition, the software takes advantage of stereoscopic viewing and head tracking for immersion and improved depth perception. During reconstruction efforts after the devastating 2010 earthquake in Haiti, TerraVis was demonstrated as a tool for assessing the risk of future earthquakes.

It is difficult to deny the ubiquitous nature of our mediated landscape in the United States. With the plethora of mediated messages come media related risks for children. Training in media literacy is one way to combat these risks. Unfortunately, most American public school media literacy standards are in need of improvement. This project examines how media literacy functions in American K-12 public schools. It not only applies a standard of assessment for media literacy standards, but also provides a synopsis of the range of advanced to poor programs across the country. Then, suggestions for improving lacking programs are revealed in a case study on Texas’ advanced media literacy program.