In the past few years, violence detection has become an increasingly rele- vant topic in computer vision with many proposed solutions by researchers. This thesis proposes a solution called Criminal Aggression Recognition Engine (CARE), an OpenCV based Java implementation of a violence detection system that can be trained with video datasets to classify action in a live feed as non-violent or violent. The algorithm extends existing work on fast ght detection by implementing violence detection of live video, in addition to prerecorded video. The results for violence detection in prerecorded videos are comparable to other popular detection systems and the results for live video are also very encouraging, making the work proposed in this thesis a solid foundation for improved live violence detection systems. / Includes bibliography. / Thesis (M.S.)--Florida Atlantic University, 2016. / FAU Electronic Theses and Dissertations Collection

This thesis uses graphic design to explore the experience of an individual attempting to bridge two countries’ distinctly different cultures: Iran and the United States. Each has a particular political relation to the other in history. I am using graphic design as a tool to compare specific and various aspects of the two cultures and how these aspects impact each other based on my personal experience. I use design to explore my place in between two cultures and as a way to make sense of the exchange or replacement of culture that I perceive. Another aspect of my thesis emphasizes how western influences and technology are altering or eradicating traditions in Iran. This thesis demonstrates collation and confrontation of cultural and social elements through the application of design to a set of culturally symbolic objects. The goal is to utilize graphic design tools to elevate awareness about illustrating the cultural and traditional aspects of the two countries. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2015 / FAU Electronic Theses and Dissertations Collection

Thesis (MA)--University of Stellenbosch, 2005. / ENGLISH ABSTRACT: This thesis focuses on the representation of women in media aimed at women. A critical examination of visual communication (magazines, advertising and visual story-telling1) will demonstrate that the media may be regarded as highly influential in the way women perceive their bodies, reproduction and sexuality. I begin by examining the presentation of the ‘ideal’ woman as an instance of the Pygmalion complex. This reading of the media’s formulation of the female ideal aims to demonstrate the psychological effects of the Pygmalion complex on women, and illustrates how the resultant striving for perfection drives production and consumption. I shall demonstrate how the image of the ‘ideal’ woman is increasingly more sophisticated and convincingly portrayed through the use of digital manipulation, plastic surgery, excessive dieting and exercise regimes. I propose that the average woman is left feeling inadequate and is undermined by the voice of her own cultural representation. This thesis also investigates the persistence of the virgin / whore binary in the media’s depiction of female sexuality. I propose that this is an essentialist and dualistic presentation of female sexuality as either ‘good’ (surrendered, submissive and conforming – i.e. the virgin); or ‘bad’ (transgressive, explicit, dangerous and destructive – i.e. the whore). I further suggest that this polarised appropriation of women’s sexuality deprives women of ownership of their own sexuality. I also propose that the media’s treatment of female sexuality presents women as being in competition within one another for male attention and approval and that this representation damages female solidarity. Finally I demonstrate that pornography has infiltrated all aspects of popular culture, from magazines to music videos. My hypothesis is that this use of pornographic conventions depicts the rape and abuse of women as normative, commonplace and even entertaining, and that this has a detrimental effect on both women’s and men’s sexual and social wellbeing. / AFRIKAANSE OPSOMMING: Hierdie tesis is gerig op hoe vroue in die media wat op vroue gerig is, verbeeld word. 'n Kritiese ondersoek van visuele kommunikasie (in tydskrifte, reklame en visuele verhaling2) sal toon hoe die media as uiters invloedryk beskou kan word ten opsigte van hoe vroue hul eie liggame, voortplanting en seksualiteit beskou. Ek begin deur die voorstelling van die 'ideale' vrou as 'n voorbeeld van die Pygmalionkompleks te ondersoek. Hierdie beskouing van die media se formulering van die ideaal van vrouwees is daarop gerig om die sielkundige effek van die Pygmalion-kompleks op vroue te demonstreer en illustreer hoe produksie en verbruik deur die strewe na perfeksie wat as gevolg van hierdie formulering ontstaan, aangedryf word. Ek sal toon hoe die beeld van die 'ideale' vrou, as meer en meer gesofistikeerd, oortuigend weergegee word deur middel van digitale manipulasie, plastiese snykunde, oormatige volg van diëte en oefenprogramme. Ek voer aan dat die gemiddelde vrou hierdeur met die gevoel gelaat word dat sy tekortskiet en ondermyn word deur die boodskap van die publikasies wat haar eie kulturele beeld verwoord. Hierdie tesis ondersoek ook die volhardendheid van die tweeledige voorstelling van vroulike seksualiteit in die beelding van maagd en hoer wat in die media aangebied word. Ek voer aan dat dit 'n wesenlike en dualistiese voorstelling van vroulike seksualiteit as óf 'goed' (uitgelewer, gedwee en konformerend – d.w.s. die maagd), óf 'sleg' (oortredend/sondig, eksplisiet, gevaarlik en vernietigend – d.w.s. die hoer) is. Ek stel verder voor dat hierdie gepolariseerde toe-eiening van die vrou se seksualiteit vrouens van eienaarskap van hul eie seksualiteit ontneem. Ek stel ook voor dat die voorstelling van die vrou se seksualiteit soos dit in die media aangebied word, suggereer dat vrouens ter wille van die aandag van 'n man en om goedkeuring te wen met mekaar kompeteer en dat hierdie voorstelling skade doen aan die gevoel van solidariteit tussen vroue. Ten slotte demonstreer ek hoe pornografie reeds alle aspekte van die populêre kultuur vanaf tydskrifte tot musiekvideos binnegedring het. My hipotese is dat hierdie gebruik van pornografiese konvensies die verkragting en mishandeling van vroue as normatief, alledaags en selfs vermaaklik uitbeeld en dat dit 'n nadelige effek het op die seksuele en die sosiale welsyn van mans sowel as vroue.

Thesis (MA)--Stellenbosch University, 2003. / ENGLISH ABSTRACT: This thesis explores the role played by drawings in the creation of knowledge. The study specifically focuses on drawings of the South African landscape and how it led to knowledge of our country. The Western perception of the concept of nature in relation to culture or civilisation is investigated by brief reference to a few periods in Western history. It is argued that man and nature was separated in Western thought by the establishment of rational thinking. This concept led to man's exploitation of nature to his own advantage. The division between man and nature was broadened in the quest for technological advancement. The first European travellers came to South Africa with a Western mind set, hoping for better economical conditions. The illustrated traveller's report reflects the verbal and visual capturing and exploitation of the South African landscape. It is further argued that European travellers tried to structure the landscape according to Western aesthetical traditions. Drawings appear to be picturesque but have radical political, economical and social implications. Colonial depictions created knowledge, but in fact symbolically legitimise the expansion of power. Until the middle of the twentieth century Western aesthetic traditions were applied to visual depictions of the South African landscape. During this period, artists were uncritical of the oppressive political system and in doing so gave their tacit consent. Ever since the middle of the twentieth century, several artists voiced their opinions against the unfair policy of the ruling political party. Visual images asked subtle questions and gave radical judgements; thus knowledge was created and a contribution made to the freedom of all South Africans. My drawings of South African landscapes are to be understood against this theoretical background. I use drawings to ask questions about the relationship between the visual image and the establishment of knowledge. I also refer to the relationship between the original and the copy, reality, the photo and the drawing. I conclude the following: drawings lead to the creation of knowledge and landscape depictions have implications of power. The solution to this problem lies, in the end, once more III drawings.My depictions of South African landscapes are given as an answer. / AFRIKAANSE OPSOMMING: Hierdie tesis is 'n ondersoek na die rol wat visuele beelde kan speel in die oordrag van idees. Daar word spesifiek gekyk na hoe tekeninge van die Suid-Afrikaanse landskap gelei het tot die totstandkoming van kennis oor ons land. Die Westerse verstaan van die begrip natuur in verhouding tot kultuur of beskawing word ondersoek deur kortliks te verwys na 'n paar periodes gedurende die Westerse geskiedenis. Daar word aangevoer dat Westerse denke die mens en die natuur van mekaar geskei het deur die instelling van rasionele denke. So het daar 'n geloof in menslike rede ontstaan. Dié beskouing het daartoe gelei dat die mens die natuur begin uitbuit het tot eie voordeel. Die kloof tussen mens en natuur het al hoe dieper geword in 'n strewe na tegnologiese vooruitgang. Die eerste Europese reisigers het vanuit 'n Westerse verwysingsraamwerk na Suid-Afrika gekom met die hoop op beter ekonomiese vooruitsigte. Die geïllustreerde reisverslag weerspieël die inneming en uitbuiting van die Suid-Afrikaanse landskap visueel en verbaal. Daar word aangevoer dat Europese reisigers die landskap deur middel van tekeninge, uitgevoer volgens Westerse estetiese tradisies, probeer struktureer het. Tekeninge kom skilderagtig voor, maar het radikale politiese, ekonomiese en sosiale implikasies. Koloniale tekeninge het kennis geskep en in werklikheid magsuitbreiding simbolies gelegitimeer. Westerse estetiese tradisies is tot die middel van die twintigste eeu toegepas op visuele uitbeeldings van die Suid-Afrikaanse landskap. Gedurende dié tydperk het kunstenaars die onderdrukkende, heersende politieke stelsel in werklikheid ondersteun deur totaalonkrities daarteenoor te staan. Teen die middel van die twintigste eeu het verskillende kunstenaars in opstand gekom teen die onregverdige beleid van die regerende party. Visuele beelde is gebruik om subtiele vrae te stel sowel as radikale uitsprake te lewer en het so kennis geskep en bygedra tot die bevryding van alle Suid- Afrikaners. My tekeninge van Suid-Afrikaanse landskappe moet teen dié teoretiese agtergrond gelees word. Ek gebruik teken om vrae steloor die verhouding tussen die visuele beeld en kennis wat so tot stand kom. Daar word verwys na die verhouding tussen oorspronklike en kopie, werklikheid, foto en tekening. Die gevolgtrekking is dat tekeninge kan lei tot die totstandkoming van kennis en dat uitbeeldings van landskappe magsimplikasies kan hê. Die oplossing vir hierdie probleem lê uiteindelik weer in tekeninge. My uitbeeldings van Suid-Afrikaanse landskappe word as antwoord gebied.

Thesis (MA (General Linguistics))--University of Stellenbosch, 2009. / According to Nattrass (2007:138), the denial and questioning of the science of HIV/AIDS at government level by, amongst others, Thabo Mbeki (former State President) and Manto Tshabalala-Msimang (former Minister of Health) resulted in an estimated 343 000 preventable AIDS deaths in South Africa by 2007. Such governmental discourse of AIDS denialism has been the target of criticism in the media and by activist groups such as the Treatment Action Campaign. This study investigates the nature of this criticism, specifically considering the critical use of metaphor in visual texts such as the political cartoons of Jonathan Shapiro, who works under the pen name of “Zapiro”. The purpose is to determine whether the nature of the criticism in visual newspaper texts differs from that of corresponding verbal newspaper texts, possibly providing means of criticism not available to the verbal mode alone. A corpus of texts published between August 1999 and December 2007 that topicalise HIV/AIDS was investigated. This includes 119 cartoons by Zapiro, and 91 verbal articles in the weekly newspaper Mail & Guardian. The main theoretical approach used in the analyses is Conceptual Metaphor Theory, developed by Lakoff and Johnson (1981), and its extension to poetic metaphor, developed by Lakoff and Turner (1989). Because of the socio-political nature of the problem of HIV/AIDS, the study also draws on Critical Discourse Analysis, including complementary concepts from Systemic Functional Linguistics. The study reveals that visual and verbal texts make use of similar sets of conventional conceptual metaphors at similar frequencies, which confirms the predictions of Conceptual Metaphor Theory. The study further reveals that the cartoons enrich these metaphors through four specific mechanisms of poetic metaphor, which the verbal articles do not. This indicates a significant difference between the two types of texts. Furthermore, it is found that the use of such poetic metaphors directly contributes to the critical power of the political cartoons. The study indicates that multi-modality in cartoons, which triggers single metaphoric mappings, adds a dimension to the critical function of the text that is absent in the verbal equivalent. The finding that the visual texts enable a form of cognition that is not available to verbal texts, poses one of the most significant avenues for future research. Thus, cartoons apparently achieve a type of criticism that is not found, and may not be possible, in the verbal texts alone. This makes the political cartoon a text type with an important and unique ability to articulate political criticism.