Indiana University-Purdue University Indianapolis (IUPUI) / An RGBZ synthetic dataset consisting of five object classes in a variety of virtual environments and orientations was combined with a small sample of real-world image data and used to train the Mask R-CNN (MR-CNN) architecture in a variety of configurations. When the MR-CNN architecture was initialized with MS COCO weights and the heads were trained with a mix of synthetic data and real world data, F1 scores improved in four of the five classes: The average maximum F1-score of all classes and all epochs for the networks trained with synthetic data is F1∗ = 0.91, compared to F1 = 0.89 for the networks trained exclusively with real data, and the standard deviation of the maximum mean F1-score for synthetically trained networks is σ∗ = 0.015, compared to σ_F1 = 0.020 for the networks trained exclusively with real F1 data. Various backgrounds in synthetic data were shown to have negligible impact on F1 scores, opening the door to abstract backgrounds and minimizing the need for intensive synthetic data fabrication. When the MR-CNN architecture was initialized with MS COCO weights and depth data was included in the training data, the net- work was shown to rely heavily on the initial convolutional input to feed features into the network, the image depth channel was shown to influence mask generation, and the image color channels were shown to influence object classification. A set of latent variables for a subset of the synthetic datatset was generated with a Variational Autoencoder then analyzed using Principle Component Analysis and Uniform Manifold Projection and Approximation (UMAP). The UMAP analysis showed no meaningful distinction between real-world and synthetic data, and a small bias towards clustering based on image background.

In his Book of the Courtier, Castiglione appeals to the Renaissance notion of self-fashioning, the idea that individuals could shape their identity rather than relying solely on the influence of external factors such as birth, social class, or fate. While other early modern authors explore the practice of self-fashioning—Niccolò Machiavelli, for example, surveys numerous princes identifying ways they have molded themselves—Castiglione emphasizes the necessity of modeling one's-self after a variety of sources, "[taking] various qualities now from one man and now from another." In this way, Castiglione advocates for a self-fashioning grounded in a discriminating kind of synthesis, the generation of a new ideal form through the selective combination of various source materials. While Castiglione focuses on the moves necessary for an individual to fashion himself through this act of discriminatory mimesis, his views can explain the ways authors of the period use source material in the process of textual production. As poets and playwrights fashioned their texts, they did so by consciously combining various source materials in order to create not individuals, as Castiglione suggests, but characters to represent new cultural ideals and values. Early moderns viewed the process of textual, as well as cultural production, as a kind of synthesis. Creation through textual fusion is particularly common in early modern accounts of the heroic, in which authors synthesize classical conceptions of the hero, which privilege the completion of martial feats, and Christian notions of the heroic, based on the contemplative nature of Christ. In this dissertation, I demonstrate how Thomas Kyd in The Spanish Tragedy (1585), Edmund Spenser in The Faerie Queene (1590), William Shakespeare in Titus Andronicus (1594), and John Milton in A Mask Presented at Ludlow Castle (1632) syncretized classical and Christian notions of the heroic ideal in order to comment upon and shape political, social, and literary discourses. By recognizing this fusion of classical heroism with contemplative heroism, we gain a more nuanced understanding of the reception of classical ideas within an increasingly secular society.

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El objeto de estudio del trabajo titulado Variaciones sobre la Bye House de John Hejduk es la casa Wall House 2; proyectada entre 1972 y 1974 para la ciudad de Ridgefield, en Connecticut (U.S.A), y construida sobre el año 2000 en la ciudad de Groningen, en Holanda. Se dedican dos capítulos para analizar la Wall House a partir del material publicado en Mask of Medusa y Five Architects. Los capítulos se titulan "Presentación de la Wall House 2 (Bye House) de John Hejduk" y "Una visita a la Wall House 2 de papel". En estos dos apartados, se pone en orden la información sobre la Wall House disponible en los documentos. En estos dos primeros capítulos la casa, de papel, es visitada a través de los libros donde aparece el proyecto. En el capítulo tercero, "Una visita a la Wall House 2 construida en Groningen", se describe la visita a la casa construida en Holanda. Se comparan las explicaciones sobre la experiencia en el interior de la casa con algunas explicaciones que Hejduk da sobre la experiencia arquitectónica. Se considera que la casa surge de un proyecto y de un proceso que la origina. En el capítulo 4, titulado "La Wall House 2 como instrumento musical", se compara el proyecto de la Wall House con algunos dibujos sobre instrumentos musicales que Hejduk plantea a los estudiantes de la Escuela de Arquitectura de New York. En este capítulo se introduce la concepción de la casa como un instrumento musical. Es, en parte, un prólogo al planteamiento de la tesis doctoral, es un preludio a la exposición, donde la Wall House empieza a presentarse desde la particularidad de la casa al compararla con la música. El capítulo siguiente analiza las relaciones que vinculan el proceso de la transformación de un cuadrado, sobre el cual se fundamenta la casa, con otros proyectos anteriores, como son las Texas Houses, las Diamond Houses y otras Wall Houses. El último capítulo, "La Casa para el Habitante que se Negó a Participar en la Wall House 2", es una continuación del anterior / Barberá Pastor, C. (2009). Variaciones sobre la Bye House de John Hejduk [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/37607

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Instance segmentation has a great potential for improving the current state of littering by autonomously detecting and segmenting different categories of litter. With this information, litter could, for example, be geotagged to aid litter pickers or to give precise locational information to unmanned vehicles for autonomous litter collection. Land-based litter instance segmentation is a relatively unexplored field, and this study aims to give a comparison of the instance segmentation models Mask R-CNN and DetectoRS using the multiclass litter dataset called Trash Annotations in Context (TACO) in conjunction with the Common Objects in Context precision and recall scores. TACO is an imbalanced dataset, and therefore imbalanced data-handling is addressed, exercising a second-order relation iterative stratified split, and additionally oversampling when training Mask R-CNN. Mask R-CNN without oversampling resulted in a segmentation of 0.127 mAP, and with oversampling 0.163 mAP. DetectoRS achieved 0.167 segmentation mAP, and improves the segmentation mAP of small objects most noticeably, with a factor of at least 2, which is important within the litter domain since small objects such as cigarettes are overrepresented. In contrast, oversampling with Mask R-CNN does not seem to improve the general precision of small and medium objects, but only improves the detection of large objects. It is concluded that DetectoRS improves results compared to Mask R-CNN, as well does oversampling. However, using a dataset that cannot have an all-class representation for train, validation, and test splits, together with an iterative stratification that does not guarantee all-class representations, makes it hard for future works to do exact comparisons to this study. Results are therefore approximate considering using all categories since 12 categories are missing from the test set, where 4 of those were impossible to split into train, validation, and test set. Further image collection and annotation to mitigate the imbalance would most noticeably improve results since results depend on class-averaged values. Doing oversampling with DetectoRS would also help improve results. There is also the option to combine the two datasets TACO and MJU-Waste to enforce training of more categories.

La technique de reconstruction de forme par lumière structurée (ou projection de motifs) permet d’acquérir la topographie d’une surface objet avec une précision et un échantillonnage de points dense, de manière strictement non invasive. Pour ces raisons, elle fait depuis plusieurs années l’objet d’un fort intérêt. Les travaux présentés ici ont pour objectif d’adapter cette technique aux conditions sévères des expériences de physique des chocs : aspect monocoup, grande brièveté des phénomènes, diversité des échelles d’observation (de quelques millimètres au décimètre). Pour répondre à ces exigences, nous proposons de réaliser un dispositif autour d’un système d’imagerie rapide par éclairage laser nanoseconde, présentant des performances éprouvées et bien adaptées. La première partie des travaux s’intéresse à analyser les phénomènes prépondérants pour la qualité des images. Nous montrons quels sont les contributeurs principaux à la dégradation des signaux, et une technique efficace de lissage du speckle par fibrage est présentée. La deuxième partie donne une formulation projective de la reconstruction de forme ; celle-ci est rigoureuse, ne nécessitant pas de travailler dans l’approximation de faible perspective, ou de contraindre la géométrie de l’instrument. Un protocole d’étalonnage étendant la technique DLT (Direct Linear Transformation) aux systèmes à lumière structurée est proposé. Le modèle permet aussi, pour une expérience donnée, de prédire les performances de l’instrument par l’évaluation a priori des incertitudes de reconstruction. Nous montrons comment elles dépendent des paramètres du positionnement des sous-ensembles et de la forme-même de l’objet. Une démarche d’optimisation de la configuration de l’instrument pour une reconstruction donnée est introduite. La profondeur de champ limitant le champ objet minimal observable, la troisième partie propose de l’étendre par codage pupillaire : une démarche de conception originale est exposée. L’optimisation des composants est réalisée par algorithme génétique, sur la base de critères et de métriques définis dans l’espace de Fourier. Afin d’illustrer les performances de cette approche, un masque binaire annulaire a été conçu, réalisé et testé expérimentalement. Il corrige des défauts de mise au point très significatifs (Ψ≥±40 radians) sans impératif de filtrage de l’image. Nous montrons aussi que ce procédé donne accès à des composants tolérant des défauts de mise au point extrêmes (Ψ≈±100 radians , après filtrage). La dernière partie présente une validation expérimentale de l’instrument dans différents régimes, et à différentes échelles. Il a notamment été mis en œuvre sur l’installation LULI2000, où il a permis de mesurer dynamiquement la déformation et la fragmentation d’un matériau à base de carbone (champs millimétriques). Nous présentons également les mesures obtenues sous sollicitation pyrotechnique sur un revêtement de cuivre cylindrique de dimensions décimétriques. L’apparition et la croissance rapide de déformations radiales submillimétriques est mesurée à la surface du revêtement. / A Structured Light System (SLS) is an efficient means to measure a surface topography, as it features both high accuracy and dense spatial sampling in a strict non-invasive way. For these reasons, it became in the past years a technique of reference. The aim of the PhD is to bring this technique to the field of shock physics. Experiments involving shocks are indeed very specific: they only allow single-shot acquisition of extremely short phenomena occurring under a large range of spatial extensions (from a few mm to decimeters). In order to address these difficulties, we have envisioned the use of a well-known high-speed technique: pulsed laser illumination. The first part of the work deals with the evaluation of the key-parameters that have to be taken into account if one wants to get sharp acquisitions. The extensive study demonstrates that speckle effect and depth of field limitation are of particular importance. In this part, we provide an effective way to smooth speckle in nanosecond regime, leaving 14% of residual contrast. Second part introduces an original projective formulation for object-points reconstruction. This geometric approach is rigorous; it doesn’t involve any weak-perspective assumptions or geometric constraints (like camera-projector crossing of optical axis in object space). From this formulation, a calibration procedure is derived; we demonstrate that calibrating any structured-light system can be done by extending the Direct Linear Transformation (DLT) photogrammetric approach to SLS. Finally, we demonstrate that reconstruction uncertainties can be derived from the proposed model in an a priori manner; the accuracy of the reconstruction depends both on the configuration of the instrument and on the object shape itself. We finally introduce a procedure for optimizing the configuration of the instrument in order to lower the uncertainties for a given object. Since depth of field puts a limitation on the lowest measurable field extension, the third part focuses on extending it through pupil coding. We present an original way of designing phase components, based on criteria and metrics defined in Fourier space. The design of a binary annular phase mask is exhibited theoretically and experimentally. This one tolerates a defocus as high as Ψ≥±40 radians, without the need for image processing. We also demonstrate that masks designed with our method can restore extremely high defoci (Ψ≈±100 radians) after processing, hence extending depth of focus by amounts unseen yet. Finally, the fourth part exhibits experimental measurements obtained with the setup in different high-speed regimes and for different scales. It was embedded on LULI2000 high energy laser facility, and allowed measurements of the deformation and dynamic fragmentation of a sample of carbon. Finally, sub-millimetric deformations measured in ultra-high speed regime, on a cylinder of copper under pyrotechnic solicitation are presented.

L'œuvre principalement photographique de Kimiko Yoshida (née le 23 juin 1963 au Japon et installée en France depuis 1995) se fonde sur la création de « mythes» à travers ses autoportraits. Les « mythes du Photographe» à l'origine des « fonctions» de son œuvre - visant entre autres à « informer, représenter, surprendre, faire signifier, donner envie» selon Roland Barthes dans La chambre claire - trouvent leurs sources dans la société, la culture, l'époque auxquelles l'artiste appartient et par conséquent également dans ce qui touche à la singularité de la personnalité, du vécu, de l'histoire à l'échelle intime de celui-ci. De fait, le titre général de cette étude énonce une quête des « mythes personnels et pluriels dans l'œuvre de Kimiko Yoshida », dont le thème de « rentre-deux» constitue la posture esthétique majeure, l'artiste et son œuvre se trouvant entre Japon et Occident, entre figuration et abstraction, entre réalité et fiction, entre citation et transgression. Ce discours fictionnel par l'image et dans l'image subit différentes métamorphoses qui forment les quatre axes fondateurs de la thèse, à savoir l'entre-deux particulier du « personnage conceptuel» défini par Gilles Deleuze et Félix Guattari dans Qu'est-ce que la philosophie / appliqué à la « signature» Kimiko Yoshida : l'étude d'un entre-deux géographique et culturel définissant un « syncrétisme» artistique singulier: les illustrations des différentes dimensions spatio-temporelles perceptibles dans l ' œuvre de Kimiko Yoshida, notamment à travers les (enjeux des couleurs des images : et l'interrogation concernant la place du sujet à l'image, entre trace et absence. / The work of Kimiko Yoshida (born on June 23rd, 1963, in Japan and living in France since 1995), mainly based on photography, is founded on the creation of « myths ». This study is about searching, defining and analysing the « functions » of Kimiko Yoshida's self-portraits. The « myths of the Photographer », at the origins of her work's functions - aiming. amongst others, to « inform, represent, surprise, signify, create desire» according to Roland Barthes' Camera Lucida - are rooted in the society, the culture and the time the artist belongs to, and as a consequence also in the singularity of his/her personality, experience, and intimate story. Thus, the general title of this study brings forwards a research of « personal and plural myths in Kimiko Yoshida's work of art», whose topic of the « in-between » is the main aesthetic position, the artist and her work situated between Japan and the West between representation and abstraction, between reality and fiction, between quotation and transgression. The fictional speech through and in the image undergoes several transformations which make up the four founding lines of this thesis, that is to say the distinctive in-between of the « conceptual character » defined by Gilles Deleuze and Félix Guattari in Whut is Philosophy ) applied to Kirniko Yoshida's name : the study of a geographical and cultural in-between defining a singular artistic « syncretism » : the illustrations of the several perceptible space-time dimensions in Kimiko Yoshida's work, notably through the games/aims of the images' colours : and the questioning about the subject in the image, between trace and absence.