This thesis describes an investigation into the experimental accuracy of a close-up stereo vision system. Surfaces are measured from any orientation through the synergy of a Coordinate Measurement Machine (CMM) and a custom made stereo vision head. Calibration of the stereo cameras is achieved using bundle adjustment non-linear optimization, commonly used in photogrammetry. Point set registration techniques are used to calibrate the stereo head with respect to the CMM coordinate system. The fully calibrated stereo vision system is used to provide experimental accuracy results under ideal imagining conditions. The system is then applied to the practical problem of sheet metal strain analysis. This problem involves many non-ideal imaging components that affect system accuracy. Experimental results for this non-deal situation are provided in the form of three-dimensional strain distribution plots. / Thesis / Master of Engineering (ME)

<p>Uppsatsen granskar det spänningsförhållande som existerar mellan Hårdrockens uttryck och den oinvigda allmänhetens moralpanik. Genom självpresentation och smakdistinktioner undersöker den också hur Hårdrocken idag har positionerat sig som en etablerad kultur med ursprung och tradition. På så sätt behandlar uppsatsen vad och vem som definierar Hårdrockens kulturella värde och position. Undersökningen görs genom en textanalys av den svenska hårdrockstidningen Close-Up Magazine. Uppsatsen granskar även hur tidningen positionerar och presenterar sig som betydande aktör inom Hårdrockens verksamhetsfält.</p>

For more than a decade, universities around the world have been placed with great responsibility to develop their students’ employability for political, economic and social reasons. Though many policies, research and practices have tried to address the issues and challenges employability development in HE faces, to date it remains a ‘wicked’ problem for higher education. Through a close up research framework, this study explored and examined the experiences, understandings and perceptions of lecturers, and students from two English Post 92 degree programmes, in an educational discipline, regarding employability and employability development. In order to illuminate some of the critical issues, in an attempt to understand ‘why employability development is so problematic to higher education’, this study took a reflexive phenomenological approach to look at how lecturers and students make sense of employability and employability development, through their own experiences. As well as looking at the two groups separately, it also compared their perceptions and understandings to highlight any dissonances they have, which are crucial to the complex and ‘wicked’ problem of employability development in their programmes. As lecturers and students hold diverse perspectives on employability in HE that is often in conflict, it was expected that there would be no “one size fits all” solution. In addition, this study found that employability has certainly added complexities to higher education. Certainly, it has led the students and lecturers to have complex issues within their roles and identities, in relation to employability development in their programmes and in HE in general. As such, this study reflexively examined those issues, and concludes that although employability development in HE will remain complex and ‘wicked’, through reflexive research and practices, vital issues relating to lecturers’ and students’ roles and responsibilities can be illuminated and solved.

Two peculiarities of the film The Passion of Joan of Arc (Carl Theodor Dreyer,1928) are explored in this essay: its unusual close-ups and its strongly expressivecharacter. We start from the idea that both characteristics are closely related andwe seek to clarify this relationship making use of Gilles Deleuze’s affection-image and Georges Didi-Huberman’s dialectical image. / Dos particularidades de la película La pasión de Juana de Arco (Carl Theodor Dreyer, 1928) son exploradas en este ensayo: sus insólitos primeros planos y sucarácter fuertemente expresivo. Partimos de la idea de que ambas característicasestán íntimamente relacionadas y buscamos esclarecer esta relación sirviéndonos de la imagen-afección de Gilles Deleuze y de la imagen dialéctica de Georges Didi-Huberman.

Uppsatsen granskar det spänningsförhållande som existerar mellan Hårdrockens uttryck och den oinvigda allmänhetens moralpanik. Genom självpresentation och smakdistinktioner undersöker den också hur Hårdrocken idag har positionerat sig som en etablerad kultur med ursprung och tradition. På så sätt behandlar uppsatsen vad och vem som definierar Hårdrockens kulturella värde och position. Undersökningen görs genom en textanalys av den svenska hårdrockstidningen Close-Up Magazine. Uppsatsen granskar även hur tidningen positionerar och presenterar sig som betydande aktör inom Hårdrockens verksamhetsfält.

Syftet med denna uppsats var att genom en genusvetenskaplig och socialkonstruktivistisk ansats undersöka hur kvinnor framställs i de svenska hårdrocksmagasinen Close-Up Magazine och Sweden Rock Magazine. Då majoriteten av den genusrelaterade medieforskningen har intresserat sig för reklam- och modebilder finns en kunskapslucka kring hur kvinnor framställs i bilder inom genrer vid sidan av dessa. Denna studie avsåg att genom semiotisk textanalys undersöka bilder i dessa magasin, för att identifiera de kvinnliga stereotyperna i dem och sedan jämföra dessa med etablerade stereotyper som tidigare forskning påvisat. Sammanlagt analyserades 28 bilder i 15 magasin från 2013 utifrån feministisk blickteori och Goffmans teori om könsframställning. Tre tydliga kvinnliga stereotyper framträdde i resultatet. Dessa benämnde vi som Den hårda, Den medkännande och Den objektifierade. De två sistnämnda är väl kända sedan innan inom forskningssammanhang medan Den hårda kvinnan, som bland annat uppvisar tecken på aggressivitet, avsky och överlägsenhet, inte påträffats i liknande studier innan. Denna nyfunna stereotyps blick, som inte definierats i tidigare forskning, namngav vi The Glare. Slutligen påvisar studiens resultat en större nyansering av de stereotyper som tidigare har diskuterats i genusrelaterad medieforskning. Resultaten tyder på att det inte finns en enhetlig kvinnlig stereotyp, utan att de kan variera beroende på genre och kulturell kontext. / The aim of this paper was to examine how women are portrayed in the Swedish metal magazines Close-Up Magazine and Sweden Rock Magazine from a gender theoretical and social constructivist perspective. Since the majority of the gender related media research have focused on pictures in fashion and advertising, there is a lack of awareness regarding how women are portrayed in other genres. This study’s objective was to examine pictures in these magazines in order to identify female stereotypes and compare them to established stereotypes from previous studies. In total 28 pictures from 15 magazines, that were published in 2013, were analyzed based on the understanding of feminist theory and Goffman’s theory of gender display. Three distinctive female stereotypes appeared in the results. These were titled The tough, The compassionate and The objectified. The last two are well known in the media research field while The tough woman, who show signs of aggression, contempt and superiority, has not appeared in previous studies. This new stereotype's view of the observer, which has not been defined in previous studies, we decided to call The glare. The results show a greater variety of stereotypes than what has been discussed in prior media related research. They also indicate that there is no uniform female stereotype and that they vary depending on genre and cultural context.

As a word, glamour is hard to define, but is instantly recognizable. Its association with Hollywood movie stars fully emerged in the 1930s in the close-up celebrity portraits by photographers like George Hurrell. The aesthetic properties in these images that help create glamour are characterized by the Modernist style, known for sharp focus, high contrast, seductive poses, and the close-up (tight framing). My essay will explore the origins of the visual aesthetics of glamour, arguing that their roots can be found in the still life photographs of the 1910s, produced by fine art photographers such as Edward Steichen. This essay will primarily focus on the photography of Edward Steichen because he used these same techniques found in his still life portraits on Hollywood celebrities when he began working for Condé Nast’s Vanity Fair and Vogue in 1923. Steichen changed the conversation on how to photograph celebrities and his practices eventually led to the creation of glamour portrait photography. This thesis documents the ways in which Steichen established the precedent for glamour photography when he applied the close-up and Modernist style on Hollywood stars. The result of Steichen’s application was photography that provided visually identifiable and mechanically reproducible glamour.

This essay is a qualitative study that analyzes how close-ups and point of view in relation to the narrative affect the viewer emotionally in the TV show The Last of Us episode 8. It examines the visualization of the character Ellie’s emotions and analyzes its emotional effect on the viewer. The theories applied explain the human ability to feel empathy and social cognition, film’s ability to evoke emotion and the concept of focalization. The theories also define the terms: narrative, point of view and close-ups. Five scenes were chosen and each scene was analyzed closely looking at facial expressions, point of view, camera movement, angles and more. Since this is a qualitative study it is based on subjective interpretations and assumptions which should be taken into account. However emotions are exceedingly subjective and a quantitative study would therefore be unmotivated.  The results suggest that assumptions can be made in how close-ups and point of view affect the viewer emotionally. When taken narrative into account, close-ups and point of view visualized the character Ellie’s emotions. These two techniques clarified and reinforced the character’s emotional state which, through the human ability to feel social cognition and empathy, transferred and/or influenced the viewer’s emotions.