This study aims to explore the mosaics in the Sala delle Palestrite at Villa Romana del Casale in Piazza Armerina, Sicily. These mosaics depict women wearing garments that resemble modern bikinis. However, upon closer examination of the roles of these ten women, it becomes evident that their attire is a form of Roman underwear, worn in an athletic context. Rather than being bikini-dressed figures, the women in the mosaic are athletes engaged in various sports activities from both ancient Greek and Roman cultures. The concept of aretḗ, which celebrates the ideal combination of strength, beauty, and harmony, often explains why Greek athletes are depicted nude. In contrast, the clothed female athletes in the mosaic suggest a different interpretation of female aretḗ, highlighting a paradox between the ideal representations of male and female athletic bodies. This depiction may however also signal an increase in women's autonomy during the 4th century AD, possibly resulting from broader cultural and social changes that reduced restrictions on women during this period. Furthermore, this study argues that these female athletes embody not only progressive but also aristocratic values. The mosaic reflects the upper class's interest in using artistic expressions to convey social status and intellectuality within their homes. With the increased social freedoms of the period, including women's rights to own land, the mosaic could represent the villa's domina attempt to portray a new image of women, diverging from traditional roles. Although the mosaic indicates greater social freedom for aristocratic women, it also reveals the persistence of traditional values in its stylistic expression. Given the historical association between women, fertility, and physical activity, the athletes' bodies might serve to communicate female aretḗ, often linked with fertility and reproduction. Alternatively, this could also highlight a recurring issue in art history; the limited representation of the female body, especially in contexts like athleticism, which did not conform to traditional portrayals of women. In conclusion, the mosaics offer a complex portrayal of female athletes that reflect both progressive and traditional values, illustrating broader social changes and the evolving roles of women in ancient society. It is thus unique evidence of the early female liberation.

A produção de mosaicos fotográficos é uma atividade de apoio bastante importante em diversas áreas tais como a geração de mapas, o monitoramento ambiental e o gerenciamento agrícola. A fotogrametria, e em especial a aerofotogrametria, é a ciência que trata, entre outros tópicos, da geração de mosaicos através de procedimentos trabalhosos, o que torna sua manutenção uma tarefa difícil e de alto custo. O Projeto ARARA (Aeronaves de Reconhecimento Assistidas por Rádio e Autônomas) representa uma alternativa de baixo custo para a aquisição de fotografias aéreas. Câmeras digitais de pequeno formato a bordo das aeronaves permitem a obtenção automática das fotografias necessárias para a geração de mosaicos. Este trabalho propõe uma metodologia para a geração e a atualização de mosaicos compostos por fotografias aéreas oblíquas digitais e de pequeno formato, adquiridas com o auxílio das aeronaves do Projeto ARARA. As fotografias podem ser submetidas a procedimentos que associam técnicas de ortoretificação e processamento digital de imagens para corrigir suas distorções geométricas e radiométricas. A metodologia apresentada neste trabalho procura evitar a necessidade de pontos de controle no solo e focaliza a geração automática ou semi-automática dos mosaicos. Procedimentos automáticos têm o potencial de permitir a utilização de uma grande quantidade de fotografias de pequeno formato em substituição às fotografias normalmente utilizadas pela aerofotogrametria convencional. / The generation of photographic mosaics is an important activity in many areas such as map production, environment monitoring and agricultural management. Photogrammetry, and specially aero-photogrammetry, are the sciences that deal, among other subjects, with mosaic generation using time consuming procedures, making the maintenance and updating of photographic mosaics a difficult and high-cost task. The ARARA Project (Autonomous and Radio Assisted Reconaissance Aircrafts), presents a low cost alternative to acquire aerial photographs. An onboard, small format digital camera can take automatically the photographs used for the mosaic generation. This work proposes a methodology for mosaic generation and updating using oblique, digital, small format aerial photographs taken by ARARA aircraft. Photographs can be corrected both geometrically and radiometrically by orthorectification and digital image processing procedures. The methodology presented in this work avoids the use of ground control points, focusing on the automatic and semi-automatic mosaic generation. An automatic procedure make possible the use of a large number of small format photographs to replace the photographs normally used in conventional aerophotogrammetry.

La tesi indaga la produzione e la messa in opera delle tessere musive e dei sectilia parietali in paste vitree in epoca tardoantica e altomedievale, studiando in particolare il caso di Milano. Nella prima parte viene esaminato il processo di produzione del vetro musivo, poco noto nella documentazione edita, ma estremamente fecondo per la ricostruzione degli scambi commerciali e culturali del periodo esaminato. Con vari strumenti (etnoarcheologia, ricettari, analisi archeometriche, resti archeologici, fonti economiche, stime quantitative, documentazione di restauro) vengono rintracciati gli indicatori di riconoscibilità di un atelier che produce piastre musive colorate e a foglia d’oro, i marker di cronologia, provenienza e tecnologia ottenibili dalle analisi chimiche sul vetro musivo e l’esito materiale dei gesti eseguiti da chi mette in opera rintracciabili sui frammenti. Nella seconda parte sono affrontate le problematiche specifiche del caso milanese. In particolare viene riconsiderata l’ipotesi dell’esistenza di una bottega milanese per la realizzazione e la posa di tessellata vitrea. A fronte di una bibliografia contraddittoria sulla datazione e il contesto culturale in seno a cui sarebbero nate queste competenze, vengono valutati i resti archeologici di decorazioni musive parietali (lacerti e tessere sciolte) e vengono caratterizzati con analisi archeometriche. Viene così determinata la diffusione dell’arte, contestualizzato quanto ancora conservato e stabilito quali apporti commerciali e culturali ha comportato la realizzazione dei mosaici milanesi. I resti archeologici, le fonti letterarie, le attestazioni iconografiche, le analisi archeometriche, pur nella loro difficile lettura, permettono di riconoscere tre momenti di diffusione dell’arte musiva: l’età tardo-imperiale, l’età gota e i secoli finali dell’altomedioevo. Per ogni periodo vengono analizzati tre casi significativi: la basilica di San Lorenzo (fine IV-inizi V sec.), il battistero di San Giovanni alle Fonti (fine V-VI sec.) e la basilica di Sant’Ambrogio (V-VI e X sec.). La ricerca contribuisce a diverse problematiche aperte: la tecnologia del vetro, gli elementi di continuità e innovazione rispetto alle tecniche romane, la decorazione parietale dei monumenti milanesi, le scelte dei committenti che hanno finanziato gli edifici, l’investimento necessario, le relazioni intraprese per realizzare le opere. / The thesis studies the production and layout of wall mosaic tesserae and of glass paste sectilia in late antique and early medieval times, focusing in particular on the case of Milan. The first part examines the productive process of glass mosaics to reconstruct the commercial and cultural exchanges of the studied period. Different tools (ethnoarchaeology, technical recipes, archaeometric analyses, archaeological remains, economic sources, quantitative estimates, restoration reports) are used to track the indicators of a workshop producing coloured and gold-leaf mosaic plates, to identify the markers of mosaic glass history and technology from chemical analysis, and to detect the material results on the remains of the actions performed by the craftsmen. The second part investigates the specific issues of the case of Milan. In particular, it reconsiders the hypothesis of the existence of a Milanese workshop that manufactures and lays out glass tesserae, approached so far in a contradictory literature in term of chronology and cultural framework. The archaeological remains, literary sources, iconographic testimonies, and archaeometric analyses, despite their difficult interpretation, allow identifying three stages of diffusion of mosaic art in Milan: the late Imperial age, the age of the Goths, and the final centuries of the Early Middle Ages. Three significant cases are analyzed for each of these periods: the Basilica of San Lorenzo (late 4th-early 5th c.), the baptistery of San Giovanni alle Fonti (end 5th-6th c.) and the Basilica of Sant’Ambrogio (5th-6th and 10th c.). This research contributes to the state of several open questions: the technology of glass, the preserved or innovative features with respect to Roman techniques, the mural decoration of Milanese buildings, the choices of the customers who have financed the buildings, the investment required, the social and commercial relations established in order to carry out the works.

Made available in DSpace on 2014-12-17T15:47:49Z (GMT). No. of bitstreams: 1 NatalHC.pdf: 2764921 bytes, checksum: 846252ab05f6de9b65d1cf7bbe1aba09 (MD5) Previous issue date: 2008-08-04 / In this work we propose a technique that uses uncontrolled small format aerial images, or SFAI, and stereohotogrammetry techniques to construct georeferenced mosaics. Images are obtained using a simple digital camera coupled with a radio controlled (RC) helicopter. Techniques for removing common distortions are applied and the relative orientation of the models are recovered using projective geometry. Ground truth points are used to get absolute orientation, plus a definition of scale and a coordinate system which relates image measures to the ground. The mosaic is read into a GIS system, providing useful information to different types of users, such as researchers, governmental agencies, employees, fishermen and tourism enterprises. Results are reported, illustrating the applicability of the system. The main contribution is the generation of georeferenced mosaics using SFAIs, which have not yet broadly explored in cartography projects. The proposed architecture presents a viable and much less expensive solution, when compared to systems using controlled pictures / No presente trabalho, descrevemos uma metodologia para a constru??o de mosaicos georreferenciados a partir de imagens a?reas de pequeno formato, ou SFAI, consideradas n?o controladas. T?cnicas de Est?reo-Fotogrametria e de Vis?o Computacional s?o aplicadas para auxiliarem em resultados de qualidade e confiabilidade. As imagens s?o obtidas atrav?s de uma c?mera digital comum acoplada a um helic?ptero aeromodelo. T?cnicas para eliminar distor??es comuns s?o aplicadas e a orienta??o relativa dos modelos ? realizada baseada na geometria projetiva. Pontos reais do terreno s?o usados para executar a orienta??o absoluta, al?m de uma defini??o de escala e de um sistema de coordenadas que relaciona a imagem medida no terreno. O mosaico ser? manipulado em um SIG, fornecendo informa??o ?til a diferentes tipos de usu?rios, tais como pesquisadores, institui??es governamentais, pescadores e empresas de turismo. Resultados s?o gerados, ilustrando a aplicabilidade do sistema. A principal contribui??o ? a gera??o de mosaicos georreferenciados usando imagens a?reas de pequeno formato, o que tem sido pouqu?ssimo explorado em projetos de cartografia. A arquitetura proposta apresenta uma solu??o vi?vel e bem barata quando comparada com sistemas que utilizam imagens controladas

A produção de mosaicos fotográficos é uma atividade de apoio bastante importante em diversas áreas tais como a geração de mapas, o monitoramento ambiental e o gerenciamento agrícola. A fotogrametria, e em especial a aerofotogrametria, é a ciência que trata, entre outros tópicos, da geração de mosaicos através de procedimentos trabalhosos, o que torna sua manutenção uma tarefa difícil e de alto custo. O Projeto ARARA (Aeronaves de Reconhecimento Assistidas por Rádio e Autônomas) representa uma alternativa de baixo custo para a aquisição de fotografias aéreas. Câmeras digitais de pequeno formato a bordo das aeronaves permitem a obtenção automática das fotografias necessárias para a geração de mosaicos. Este trabalho propõe uma metodologia para a geração e a atualização de mosaicos compostos por fotografias aéreas oblíquas digitais e de pequeno formato, adquiridas com o auxílio das aeronaves do Projeto ARARA. As fotografias podem ser submetidas a procedimentos que associam técnicas de ortoretificação e processamento digital de imagens para corrigir suas distorções geométricas e radiométricas. A metodologia apresentada neste trabalho procura evitar a necessidade de pontos de controle no solo e focaliza a geração automática ou semi-automática dos mosaicos. Procedimentos automáticos têm o potencial de permitir a utilização de uma grande quantidade de fotografias de pequeno formato em substituição às fotografias normalmente utilizadas pela aerofotogrametria convencional. / The generation of photographic mosaics is an important activity in many areas such as map production, environment monitoring and agricultural management. Photogrammetry, and specially aero-photogrammetry, are the sciences that deal, among other subjects, with mosaic generation using time consuming procedures, making the maintenance and updating of photographic mosaics a difficult and high-cost task. The ARARA Project (Autonomous and Radio Assisted Reconaissance Aircrafts), presents a low cost alternative to acquire aerial photographs. An onboard, small format digital camera can take automatically the photographs used for the mosaic generation. This work proposes a methodology for mosaic generation and updating using oblique, digital, small format aerial photographs taken by ARARA aircraft. Photographs can be corrected both geometrically and radiometrically by orthorectification and digital image processing procedures. The methodology presented in this work avoids the use of ground control points, focusing on the automatic and semi-automatic mosaic generation. An automatic procedure make possible the use of a large number of small format photographs to replace the photographs normally used in conventional aerophotogrammetry.

The primary focus of this diploma thesis is on marker chromosomes and phenotypically similar human karyotype polymorphisms, variants of short acrocentric arms in particular. The first half provides a very useful review of literature concerning different aspects of both sSMC and human polymorphisms such as their origin, inheritance, associated phenotype, formation and molecular cytogenetic methods that are applied in the process of identification of these aberrations. The methodical emphasis is on FISH and its modifications (e.g. M-FISH, acro M FISH, cen M-FISH) as well as on the CGH methods. The main objective was to test the above-mentioned methods and state their limitations and applications. Thus, in the other half we provide evaluations of commonly used methods and introduce new strategies that could be implemented to make the identification of these additional chromosomes or satellite translocations more effective. All the conclusions are based on the analysis of 7 patients with sSMC and 4 patients with variants involving acrocentric NOR regions. The results of our thorough research into their karyotypes have been compared with similar findings in the literature. Last but not least, we tried to establish a link between observed abnormalities and the type of a chromosomal aberration at hand.

This dissertation examines the practice of embedding devotional objects, such as relics and painted panels, into mural images in Italy between the eleventh and fourteenth centuries. Examples can be found as far south as Amalfi, and as far north as Lombardy, and in a variety of ecclesiastical institutions, ranging from urban cathedrals, remote hermitages, and influential monastic centers. Yet despite its widespread application—found even in the Arena Chapel in Padua—the practice has never been systematically studied. Older studies of the sites taken up in this dissertation generally omit mention of their embedded objects altogether, either because the objects were seen as incidental to the larger image in which they were set, or because their inclusion did not follow certain post-medieval parameters of artistic progress. The works of this study elide traditional divisions within the study of medieval art, traversing the categories of icon and narrative, portable and monumental, and “image” and “art.” This study contends that medieval image-makers engaged the aesthetic and symbolic potential of mixing diverse media. The introduction gives an analysis of the notions of “medium” and “mixture” in the Middle Ages in order to elaborate the heuristic concepts that drive the ensuing chapters. Chapters 1-3 each examine a specific type of embedded object, and consider the various modes of combination exhibited therein. Chapter 1, “Assimilation,” examines relics that were embedded within mural images, and focuses on the apse mosaic of San Clemente in Rome, ca. 1120. Chapter 2, “Fragmentation,” analyzes the insertion of circular wooden panels in murals, and centers on the apse fresco of Santa Restituta in Naples, ca. 1175. Chapter 3, “Mediation,” considers the rectangular panel of God in the Arena Chapel in Padua, produced by Giotto between 1303 and 1305. To recuperate the intermedial practice of embedding objects in mural images, I examine the technical and aesthetic features of mixed media murals in relation to coeval understandings of mixture, media, and mediation. It was a practice that involved an understanding of the mural image not just as a flat surface for pictorial elaboration, but as a physical and spatial entity that could be manipulated and thematized within the image itself. By incorporating relic or panel into a mosaic or frescoed mural, medieval image-makers nested objects traditionally viewed as portable and venerable, into one understood as fixed and site-specific. This maneuver gave the mural a stratified quality of assemblage, producing registers of difference and ambiguity between container and contained, image and object, surface and depth. Throughout the dissertation, I explore these dialectics, demonstrating how and to what ends embedded objects establish difference, only to transcend it. The ambivalent understandings of mixture in the twelfth and thirteenth centuries—sometimes a hybrid, at other times, a metamorphosis— inform my analysis of the mixed representational systems of this study. The period may be characterized by a growing intellectual interest in the observation and manipulation of physical substances, the study of which was seen to reveal the connective fabric of God’s cosmic order. The works studied here participate in this broader attention to the processes of the natural world. I therefore consider how medial combinations were seen to signal analogous behavior in the mixtures discussed by theologians, natural philosophers, and artists. Attending to both the constituent parts and the symbolic value of their combination, I show how the act of embedding worked by analogy to figure the theological processes of assimilation, fragmentation, and mediation.

The focus of this thesis is on the most commonly used types of stone, the methods of quarrying stone, stone working, the tools developed and used for that purpose, and the ways in which stone was transported and hoisted into place. This is starting from the earliest times in which large temples or buildings were constructed, namely the Neolithic, up till the time of the Roman Empire. Besides being a kind of compendium of most aspects of stone working, which could be found, also attention is given to the ideal conditions under which the construction of a large temple or monument could take place. The framework, which is developed from the description of the construction of Solomon’s Temple in Jerusalem in I Kings 5 and I Chronicles 28, is used to analyse the construction of a number of other temples in different times, places and settings, and with the use of different materials, to test if the framework is applicable in all these situations. Moreover, also other aspects of stone working, such as mosaics and the manufacturing of stone vessels in Jerusalem are described and analysed as to their origins and uses. The intention is to give an overview of the many ways in which stone has been used, so that the reader can get an idea of how large temples and monuments were built and to gain an understanding of what kind of technical know-how and ingenuity existed in antiquity. / Religious Studies and Arabic / D. Phil. (Religious Studies (Biblical Archaeology))

<p>Hyperspectral reflectance data are utilised in many applications, where measured data are processed and converted into physical, chemical and/or biological properties of the target objects and/or processes being studied. It has been proven that crop reflectance data can be used to detect, characterise and quantify disease severity and plant density.</p><p>In this thesis, various methods were proposed and used for detection, characterisation and quantification of disease severity and plant density utilising data acquired by hand-held spectrometers. Following this direction, hyperspectral images provide both spatial and spectral information opening for more efficient analysis.</p><p>Hence, in this thesis, various surface water quality parameters of inland waters have been monitored using hyperspectral images acquired by airborne systems. After processing the images to obtain ground reflectance data, the analysis was performed using similar methods to those of the previous case. Hence, these methods may also find application in future satellite based hyperspectral imaging systems.</p><p>However, the large size of these images raises the need for efficient data reduction. Self organising and learning neural networks, that can follow and preserve the topology of the data, have been shown to be efficient for data reduction. More advanced variants of these neural networks, referred to as the weighted neural networks (WNN), were proposed in this thesis, such as the weighted incremental neural network (WINN), which can be used for efficient reduction, mapping and clustering of large high-dimensional data sets, such as hyperspectral images.</p><p>Finally, the analysis can be reversed to generate spectra from simpler measurements using multiple colour-filter mosaics, as suggested in the thesis. The acquired instantaneous single image, including the mosaic effects, is demosaicked to generate a multi-band image that can finally be transformed into a hyperspectral image.</p>

The fusion of several images of the same scene into a single and larger composite is known as photo-mosaic. Unfortunately, the seams along image boundaries are often noticeable, due to photometrical and geometrical registration inaccuracies. Image blending is the merging step in which those artefacts are minimized. Processing bottlenecks and the lack of medium-specific processing tools have restricted underwater photo-mosaics to small areas despite the hundreds of thousands of square meters that modern surveys can cover. Producing these mosaics is difficult due to the challenging nature of the underwater environment and the image acquisition conditions. This thesis proposes strategies and solutions to tackle the problems of very large underwater optical surveys (Giga-mosaics), presenting contributions in the image preprocessing, enhancing and blending steps, resulting in an improved visual quality in the final photo-mosaic / La unió de diverses imatges d’una mateixa escena en una d’única i més gran és coneguda com a foto-mosaic. Malauradament, els límits de les imatges són habitualment perceptibles, degut a imprecisions en els registres fotomètric i geomètric. La fusió d'imatges és l'etapa del procés d'unió a la qual aquests artefactes són minimitzats. Els colls d'ampolla en el processament i la manca d'eines específiques pel tractament del medi han restringint els foto-mosaics submarins a àrees reduïdes, malgrat que els estudis actuals poden cobrir centenars de milers de m2. . La producció d'aquests mosaics és complexa donada la naturalesa del medi subaquàtic i les condicions d'adquisició de les imatges. Aquesta tesi proposa estratègies i solucions per afrontar el problema de la generació de foto-mosaics submarins de grans dimensions (Giga-mosaics), i presenta contribucions en les etapes de preprocessament, realçat i fusió d’imatges, donant lloc a una qualitat visual millorada del foto-mosaic final