CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / Resolver os problemas da linguagem como representaÃÃo à o foco principal do Tractatus. Para realizar tal tarefa, Wittgenstein propÃe uma teoria pictÃrica que parece criar uma estratÃgia convincente para assegurar que as regras lÃgicas do mundo possam determinar como os sÃmbolos lingÃÃsticos, em suas estruturas sintÃticas e semÃnticas â nÃo somente os signos, quando apropriadamente articulados em proposiÃÃes, podem efetivamente representar fatos possÃveis. Surpreendentemente, uma vez que Wittgenstein resolve essa questÃo, ele descobre que as regras da linguagem sÃo tambÃm as regras do mundo, eles compartilham a mesma essÃncia, e assim, ele acaba criando nÃo somente uma teoria lingÃÃstica, mas tambÃm uma teoria ontolÃgica. Meu intuito principal à considerar em que consiste a teoria criada por Wittgenstein, buscando levantar algumas questÃes problemÃticas que se mostram plausÃveis diante da perspectiva defendida na obra. / To solve the problems of the language as representation is the focal point of the Tractatus. In order to accomplish this task, Wittgenstein propose a pictorial theory that seems to create a convincing strategy to assure that the logic rules of the world can determinate as the linguistic symbols, in their syntactic and semantic structures â not only the signs, when properly articulated into propositions, can effectively represent possible facts. Surprisingly, once that Wittgenstein solved this concern, he find out that the rules of language are the rules of the world, they share the same essence, and so, he ended to create not only a linguistic, but also an ontological theory as well. My primary intention is to consider the theory created by Wittgenstein, trying to rise up a few plausible problematic questions that appear in face of the perspective defended in the text.

No description available.

Flannery O'Connor makes the invisible visible. Just as a speaker of sign language punctuates her narrative with signs that are at once pictures and words, O'Connor punctuates the narratives of her novels with moments or pauses in the forward motion of her text that are somehow framed--in a mirror, or in a window, for example--and that also are at once pictures and words. These pictorial moments not only occur in the reader's present, but because of the way they are stylized, they are simultaneously: open windows into the historical world of the mid-twentieth century; they look backward into the classical past; and they offer a veiled look into the mystery of a Divine reality. Examination of the chronological development and refinement of Flannery O'Connor's pictorial technique by considering the meaning conveyed by the arrangement of figures in a single panel cartoon, the contextual significance found in literary tableaux and filmic montage, the use of the pictorial "camera eye," and the imprinting of tattoo on the human body, presents a new perspective in interpreting her work. Early manifestation of the pictorial technique is evident in O'Connor's college cartoons. When that cartoonist becomes a novelist that tendency for exaggeration is evident in his or her pictorial renditions of characters and situations, as is the case with former cartoonists Faulkner, Updike, West, Cantor, and O'Connor herself. O'Connor does not abandon the power of the pictorial in delivering a message. Instead she embraces it and envelops it in narrative.

Image processing systems have typically exhibited a high degree of application specificity. This makes it unlikely that any of the processing tasks for one application can be applied to another. Research has also found that such systems had not made use of knowledge about human perception although, it can be argued, such knowledge is independent of the application. This thesis takes the view that the structures which people perceive in pictures are of considerable importance to supporting picture-based human computer interaction. However, the design of systems which process pictures based on knowledge of human perception presents two major challenges. The first relates to determining the appropriate psychological knowledge that the computational modelling effort will be based upon. The second relates to the testing and evaluation of systems that aim to generate perceptually-valid structures, which poses significant problems because such systems are concerned with perceptual structures rather than semantic interpretations. An approach to developing picture processing systems is proposed that overcomes these problems. The approach represents a development strategy that exploits psychological theory in constructing image processing algorithms. The aim of these algorithms is to generate structures that match those perceived by humans. The approach enables new algorithms to be developed as additional psychological knowledge becomes available. Given appropriate training, users of such systems are able to see in images the structures that are generated by the system. The thesis presents the results of a study of perceptual and computational approaches to the processing of pictures. Motivations for and the development of a computational model based on perceptual grouping are described. A thorough evaluation of the computational model is performed which highlights both its value and limitations. Specific applications of the computational model in areas such as shape emergence in design, and pictorial databases, are then considered.

The Japanese, as a people, are very different from the Chinese. As far as one can talk of national characteristics, they are less ebullient and extrovert than the Chinese. A sense of humour seldom appears in their daily life whereas, oddly enough, their art shows a lively wit. The reverse is true of the Chinese who are a witty gay people in life but are not generally so in their art. Peter Swann's provocative statement prompted this investigation regarding the absence or presence of humor in uniquely Japanese art. A secondary aim was to try to define the nature of any humor discovered. The study was limited to three periods of Japanese history in which there was a minimal amount of direct influence from China and in which there developed relatively pure Japanese art forms. Humor is defined as "a critical, yet sympathetic, human response to a stimulus occurring unexpectedly in an otherwise ordered existence." It is discussed as an intellectual-emotional response. The intellectual aspect implies an understanding of events. The emotion encountered is never one of anger, bitterness or sarcasm. It is not noble, sublime or mysterious. It is a response of warmth. The first era studied, the protohistoric period, produced haniwa, clay figures, which were investigated. While it was not possible to state that haniwa were humorous in intent, many emerged exemplifying the foregoing definition of humor. These happy and laughing tomb figures elicit a response of humor today. The nature of the humor-response was of two varieties. One was indeed Swann's "lively wit" and the other emerged as a gentile, subtle type of humor. The second period studied was that of the twelfth and thirteenth centuries in which the main body of emaki was produced. The historical background to the growth of this truly national style of Japanese art was covered and many emaki were investigated. Summarizing the kind of humor found, it became evident that the Japanese is a race able to laugh at itself. Yashiro's "sympathetic smile of good will" is shown in the emaki itself and is elicited from the observer. "Lively wit" was found in scenes from the Shigi-san Engi, the Ban Dainagon Ekotoba and in the Choju Giga. A gentle, subtle humor was observed in the Yamai no Soshi scroll and in the Gaki Zoshi.. In both of these latter emaki, the pathos toned down the nature of the humor making it less lively than in the former scrolls. Finally, the last period under consideration was the two hundred and fifty years of Tokugawa shogun exclusionist policy—l6l5-1867. The Japanese form of art known as ukiyo-e was investigated. It was necessary to understand the historical background of these Japanese prints in order to determine if and when stimuli occurred upsetting a natural order of existence. Again, it was discovered that at least two kinds of humor were present. Overt and "lively wit" was demonstrable, as was a subtle, not-quite-hidden, touch of gentle humor. While there was no difficulty in proving the presence of humor in uniquely Japanese art, the nature of that humor was more difficult to determine. Swann's contention that Japanese art shows a "lively wit" was found to be true, but only in part. A subtle, quiet and warmly sympathetic kind of response was also demonstrated. Examples of these two types of humor were found both in the actual objects investigated and, also, in the nature of the response elicited from the observer. Although humor evinced different characteristics, both types found show a critical, yet sympathetic, response to stimuli occurring unexpectedly in an otherwise ordered, existence. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

Call number: LD2668 .T4 1979 G76 / Master of Science

No description available.

Humor-evoking events frequently contain aggressive elements. Sex differences have been found for the effects of aggressive content on perceived funniness, (Wilson & Molleston, 1981; Terry & Ertle, 1974; Groch, 1974; Felker & Hunter, 1970) but the findings are not consistent. Sexism is sometimes perceived as a more subtle form of aggression. Sex differences have also been found for the way sexism affects funniness ratings, (Chapman & Gadfield, 1976; Priest & Wilhelm, 1974) but again the findings are inconsistent. The primary purpose of the present study was to determine the relationship between the ratings of sexism and the ratings of funniness for cartoons. A secondary purpose of the present study was to determine to what extent, if any, gender of experimenter influences humor, sex, sexism, and pain ratings.Subjects were 60 female and 58 male introductory Psychology students. There were four experimental groups: two groups of female and two groups of male subjects. A female experimenter was assigned to one male and one female group, and a male experimenter was assigned to one male and one female group. This design facilitated exploration of an experimenter gender x subject gender interaction. Subjects were shown 34 cartoons and asked to rate each for funniness, and then to rate them for the degree of sexual, sexist, and aggressive (pain) content each contained.A preliminary analysis revealed that there were significant relationships between gender of experimenter and funniness ratings, gender of subject and funniness ratings, as well as a gender of experimenter x gender of subject interaction.A step-down multiple regression was performed among the predictor variables experimenter gender and subject gender, with the criterion of funniness, for each of the four experimental conditions. For female subjects, only sexism scores correlated with funniness scores, and the contributions of sex and pain ratings were not significant. For male subjects, only sex scores correlated with funniness scores, and the contributions of sexism and pain ratings were not significant. Comparisons between these results and past research were made.

The present study examines the pictorial style of pottery made in Thera and Crete in the LCI/LMIA period. The work is in two volumes. Volume I is divided into three parts. Part I comprises the introductory chapter in which there is a summary of previous research on the subject and the aims of the thesis are set out. Chapter II the context of the pictorial style of pottery is examined. Chapter III contains analysis of the forms of vases with pictorial decoration. Part II includes three chapters dealing with the Analysis of Motifs. The plants are analysed in Chapter IV, the living creatures in Chapter V and the sacred symbols in Chapter VI. Part III comprises the Synthesis. In Chapter VII an attempt is made to identify pottery workshops specializing in different vase forms and decoration. Chapter VIII examines the origin and character of the pictorial style of pottery in the Cyclades and Crete. Finally in the last Chapter IX, conclusions regarding the character, context, forms and motifs, workshops and development of the pictorial style pottery are presented. A possible ritual function of the pottery is discussed. Interrelations and influences between the cultures Of Thera and Crete on various Levels are demonstrated. Volume II contains a Catalogue Of the available pottery, presented in two groups: the first from Thera and the second from Crete. The illustrations — figures and photographic plates — come at the end of Volume II.

<p>In computer vision, the pictorial structure model represents an object in an image by parts that are arranged in a deformable configuration. Each part describes an object's local photometric appearance, and the configuration encodes the global geometric layout. This model has been very successful in recent object recognition systems.</p><p>We extend the pictorial structure model in three aspects. First, when the model contains only a single part, we develop new methods ranging from regularized subwindow search, nested window search, to twisted window search, for handling richer priors and more flexible shapes. Second, we develop the notion of a weak pictorial structure, as opposed to the strong one, for the characterization of a loose geometric layout in a rotationally invariant way. Third, we develop nested models to encode topological inclusion relations between parts to represent richer patterns.</p><p>We show that all the extended models can be efficiently matched to images by using dynamic programming and variants of the generalized distance transform, which computes the lower envelope of transformed cones on a dense image grid. This transform turns out to be important for a wide variety of computer vision tasks and often accelerates the computation at hand by an order of magnitude. We demonstrate improved results in either quality or speed, and sometimes both, in object matching, saliency measure, online and offline tracking, object localization and recognition.</p> / Dissertation