There has been a disparity between the conventional method of describing topographic surfaces (i.e. contour line definition) and a format of surface description often used in continuous-line computer graphics (i.e. panel definition). The two differ enough that conversion from contours to panels is not a trivial problem. A computer program that performs such a conversion would greatly facilitate continuous tone display of topographical surfaces, or any other surface which is defined by contour lines. This problem has been addressed by Keppel and alluded to by Fuchs. Keppel's is a highly systematic approach in which he uses graph theory to find the panel arrangement which maximizes the volume enclosed by concave surfaces. Fuchs mentions an approach to the problem as part of an algorithm to reconstruct a surface from data retrieved from a laser scan sensor. This thesis elaborates on a general conversion system. Following a brief overview of computer graphics, a simple algorithm is described which extracts a panel definition from a pair of adjacent contour loops subject to the restriction that the two loops are similarly sized and shaped, and are mutually centered. Next, a mapping procedure is described which greatly relaxes the above restrictions. It is also shown that the conversion from contours to panels is inherently ambiguous (to various degrees) and that occasionally the ambiguity is great enough to require user interaction to guide the conversion algorithm. An important complication addressed in this thesis is the problem of handling cases where one contour loop branches into two or more (or vice versa). Attention turns next to a contour line definition of the human brain, and special problems encountered in preparing those data for continuous tone display, The final chapters explain the fortran implementation, present an example-problem, and show sample pictures of the brain parts.

Of the eighty-five known Roman mosaics that depict Orpheus charming the animals, or the theatrum, eight of these mosaics are located in Southwest Britain. The Orpheus mosaics were laid at the end of the third through the fourth centuries A.D. in lavish Roman villas at the sites of Barton Farm, Brading, Littlecote Park, Newton St. Loe, Wellow, Whatley, Withington, and Woodchester. Along with the central image of Orpheus, all eight mosaics contain Bacchic iconography. While the Orpheus mosaics in Roman Britain are the topic of several publications, none have addressed the appearance of Bacchic imagery in conjunction with that of Orpheus. This dissertation investigates the relationship between Orpheus and Bacchus in the Classical world in order to explain the frequent appearance of Bacchic iconography on Orpheus mosaics in southwest Britain. In order to understand how the Roman aristocracy viewed the relationship between Orpheus and Bacchus, this dissertation explores three avenues of study. First, the more then seventy-five figures and objects that are part of the Bacchic iconographic repertoire associated with the Orpheus mosaics are identified and their connection with Bacchus established. Second, the connection between Orpheus and Bacchus in the Greek Classical Period is explored to establish a literary and artistic tradition from which the Roman tradition emerged. Third, an examination of Greek and Latin literature from the third century B.C. to the sixth century A.D. is undertaken to describe how Orpheus was perceived by pagan and Christian Roman elite as the founder of the Bacchic mysteries and the author of the sacred texts used in these mysteries. Furthermore, the evidence presented within this dissertation demonstrates that the Orpheus mosaics in southwest Britain were placed in public areas of wealthy Roman villas to reflect the homeowners' knowledge of both the past and present philosophical and theological beliefs. These mosaics advertise the provincial Roman aristocrat's Classical education while maintaining their association with the city of Rome and the imperial court in Constantinople.

The present thesis analyzes the Byzantine mosaic pavements of Phoenicia and Northern Palcatine from a socio-economic perspective, primarily by examining the laying of pavements including technical aspects and bedding, the quality of decoration, the distribution of pavements in time and space, as well as inscriptions which provide names of donors and artists as well as dates. The approach adopted represents a novel alternative and complement to typical interpretations of mosaic floor decoration which overwhelmingly focus on the development and diffusion of style, or provide an exegesis of figurative iconography. Key aspects discussed include the extent to which chronological patterns of mosaic floor laying may be used to gauge economic conditions; the factors which determined the quality and distribution of technique and decoration in different building types; as well as the social mechanisms of patronage. Close scrutiny of the regional mosaic Corpus (which includes the total number of pavements) suggests that mosaic pavements provide a reasonable indication of economic conditions, especially in association with other media (coins, pottery, inscriptions). Together these media paint a historical picture of the economy of the period. Having graded according to four Levels of Complexity all the geometric designs in the Corpus after their codification following the rules devised by the Association Internationale pour l'Etude de la Mosaïque Antique (AIEMA), and with the support of the written ancient sources, it is demonstrated that quality and distribution of technique and style were governed by a combination of factors, notably function, financial expenditure, social use and various socio-economic categories of patrons, liturgy and liturgical level of participation. By building on the methodologies followed and the conclusions reached by other mosaic scholars, this innovative approach has attempted to reintroduce the human element into a discipline focused since the late 1960s on codification and descriptive precision. Revealing the hidden costs underlying the laying of mosaic pavements has presented a new insight into mosaic pavements as tri-dimensional products of team work. Likewise, stripping the literary language of dedicatory formulas down to essential information has challenged the misinterpreting of epigraphic evidence regarding donations and donors. In-depth analysis of Christian mosaic inscriptions has strengthened the pattern of changes plotted by historians of the Early Byzantine period and suggested that Christian patronage of mosaic art is to be equated with the local initiatives of the Church, ecclesiatics and wealthy laymen (or women) as private donors, and more rarely entire village communities. By contrast, scrutiny of the Jewish and Samaritan mosaic inscriptions has highlighted the fact that benefaction emanated from rich and poor alike, and was far more family and community oriented.

This thesis presents a new approach to the visualization of audio files that simultaneously illustrates general audio properties and the component sounds that comprise a given input file. New audio segmentation and classification methods are reported that outperform existing methods. In order to visualize audio files, the audio is segmented (separated into component sounds) and then classified in order to select matching archetypal images or video that represent each audio segment and are used as templates for the visualization. Each segment's template image or video is then subjected to image processing filters that are driven by audio features. One visualization method reported represents heterogeneous audio files as a seamless image mosaic along a time axis where each component image in the mosaic maps directly to a discovered component sound. The second visualization method, video texture mosaics, builds on the ideas developed in time mosaics. A novel adaptive video texture generation method was created by using acoustic similarity detection to produce a resultant video texture that more accurately represents an audio file. Compared with existing visualization methods such as oscilloscopes and spectrograms, both approaches yield more accessible illustrations of audio files and are more suitable for casual and non expert users.

This thesis presents a new approach to the visualization of audio files that simultaneously illustrates general audio properties and the component sounds that comprise a given input file. New audio segmentation and classification methods are reported that outperform existing methods. In order to visualize audio files, the audio is segmented (separated into component sounds) and then classified in order to select matching archetypal images or video that represent each audio segment and are used as templates for the visualization. Each segment's template image or video is then subjected to image processing filters that are driven by audio features. One visualization method reported represents heterogeneous audio files as a seamless image mosaic along a time axis where each component image in the mosaic maps directly to a discovered component sound. The second visualization method, video texture mosaics, builds on the ideas developed in time mosaics. A novel adaptive video texture generation method was created by using acoustic similarity detection to produce a resultant video texture that more accurately represents an audio file. Compared with existing visualization methods such as oscilloscopes and spectrograms, both approaches yield more accessible illustrations of audio files and are more suitable for casual and non expert users.

Inaug.-Diss.--Upsala. / "Literatur": p.[vii]-xii.

In Rome, the activity of hunting was a pastime traditionally associated with the emperor and aristocracy. As such, hunting imagery in Roman art became symbolic of masculinity and power, expressions of which were important for the self-representation of status-conscious citizens. More specifically, virtus, often translated as “manliness” or “courage,” is the principal quality that is expressed through hunting scenes, although other ideas such as wealth and erudition were alluded to in these scenes as well. This thesis examines hunting scenes in the media of sarcophagi, mosaics, and silverware from the third to the sixth centuries AD. It focusses on the kinds of hunting imagery found on different media in order to discern the values that were important to patrons in the later Roman period, and the ways in which these values were expressed in the visual arts. In the funerary context, mythological hunting scenes on sarcophagi most often present the deceased as a man of virtus. However, owing to the Entmythologisierung of Roman sarcophagi during the third century, the ways in which virtus was expressed through these scenes underwent significant change during this period. On domestic floor mosaics, virtus was also a principal virtue that was expressed, but other ideas such as wealth and generosity were also displayed on hunting scenes in this medium, both mythological and non-mythological. Moreover, hunting scenes on silverware often highlight the wealth of the vessel’s owner. Additionally, allusions to a patron’s paideia, his formal educational background in Greek and Latin literature, as well as expressions of one’s Christian faith, also served as claims of membership in exclusive groups. / Thesis / Master of Arts (MA)

Inaug.-Diss. (doctoral)--Universität zu Köln, 1992. / "Veröffentlichungen der Bibliotheca Hertziana (Max-Planck-Institut) in Rom"--T.p. verso. Includes bibliographical references (p. 283-315) and index.

Dissertation submitted in partial fulfilment in compliance with the requirements for the Masters Degree in Technology: Fine Art, Durban University of Technology, 2013. / This paper documents and evaluates the use of ceramics as an aesthetic architectural element in Durban from 1914-2012 with special reference to James Hall (1916-2006), Andrew Walford (b.1942) and Jane du Rand (b.1969). These artists were selected because their work demonstrates a wide range of the use of decorative tiles and mosaics as aesthetic elements in Durban architecture over a period of more than fifty years. Reference is made to the historical use of tiles and mosaics as aesthetic architectural elements in Durban from 1914-1955 in order to provide a context to an investigation and evaluation of the contribution of Hall, Walford and du Rand to the use of tiles and mosaics as an aesthetic architectural element in Durban. The paper begins by highlighting the importance of this study, discusses the role of ceramic architectural adornment and defines terminology for the purpose of this research. In addition an explanation of the research methodology used, research questions and literature review is provided. The study is contextualised through an overview of the historical background of the use of ceramics (tiles and mosaics) as an aesthetic element in architecture. The importance of the use of ceramic elements in relation to architecture, as well as the different techniques and methods of production, are highlighted and related to contemporary practice. The overview provides insight into how the use of ceramic elements in the past has influenced the approach of contemporary practice. My contribution to the use of mosaics as an aesthetic architectural element in Durban and my art practice, in the form of an installation titled passage is discussed and evaluated. The paper concludes by noting that the historical use of tiles and mosaics as aesthetic elements in architecture persists in contemporary art practice. However, the methods of tiled mosaic production and tiled mosaic techniques have been revolutionised extensively. It is evident that, the use of ceramics as an aesthetic element in Durban architecture reflects, both a strong European design influence and a distinctive local identity. / Durban University of Technology Postgraduate Development and Support Directorate

This thesis examines the way the medium of mosaics was adapted locally by the cities of Antioch (modern Antakya, Turkey) and Thysdrus (modern El Djem, Tunisia) during the second and third centuries CE. Compositional differences indicate different conceptions of the medium and locally specific iconography draws on viewers’ local knowledge and experience to situate the city and its inhabitants within the broader context of the Roman empire.