[No Abstract]

A symbolic image database system is a system in which a large amount of image data and their related information are represented by both symbolic images and physical images. How to perceive spatial relationships among the components in a symbolic image is an important criterion to find a match between the symbolic image of the scene object and the one being store as a modal in the symbolic image database. Spatial reasoning techniques have been applied to pictorial database, in particular those using 2D strings as an index representation have been successful. In this thesis, we extend the existing three levels of type-i similarity to more levels to aid similarity retrieval more precisely. There are 13 spatial operators which were introduced by Lee and Hsu to completely represent spatial relationships in 1D space. But, they just combined the 13 spatial relationships on x- and y-axis to represent the spatial relationships in 2D space by 13 times 13 = 169 spatial relationships. However, the 169 spatial relationships are still not sufficient to show all kinds of spatial relationships between any two objects in 2D space. For example, the directional relationships, like North or South West, exist in 2D space and is difficult to be deducted from those 13 spatial operators. Thus, we add the nine directional relationships to the 169 spatial relationships in 2D space. In this way, we can distinguish up to 289 spatial relationships in 2D space. Moreover, in our proposed strategy, we also take care of the problem caused by the MBRs. In most of the previous approaches for iconic indexing, for simplifying the concerns, they apply the MBRs of two objects to define the spatial relationship between them. The topological relationships, however, between objects can be quite different from the spatial relationship of their respective $MBR$s. Therefore, sometimes, it is hard to correctly describe the spatial relationship of the objects in terms of the relationships between their corresponding MBRs. To improve this drawback resulted from MBRs, we adopting the concept of topological relationships in our proposed strategy. Good access methods for large image databases are important for efficient retrieval. The signature files can be viewed as a preselection searching filter to prune off the unsatisfied images. In order to solve the ambiguity of the MBRs and to present the spatial relationships in two dimensional space completely, we propose a hybrid approach-based signature extraction method for similarity retrieval. From our simulation study, we show that our approach can provide a higher rate of a correct match and requires a smaller storage cost than Lee et al.'s 2D B-based signature approach. In some case, the correct match rate based on our proposed strategy can be up to 42.18%, while it is just 16.66% in Lee et al.'s strategy. Moreover, the worst case of the storage cost required in our proposed strategy is 1686 bits. But, it always needs 2015 bits in Lee et al.'s strategy.

The objective of my research is to revive and practice the art of traditional pictorial maps in 3D cartographic visualization. I have chosen to create both graphical and statistical pictorial maps which can be used for the purpose of tourism and data representation respectively. Some traditional hand-drawn and sculptural pictorial maps of famous artists have been picked out to start as a base for my work. The goal was to recreate or imitate the style, character and features of these traditional hand-drawn and sculptural maps with 3D computer graphics and to analyze how effectively 3D tools can be used to communicate map information. I also wanted to explore ways to make these maps interactive on the Web and have them accessible to a large number of viewers. The results show a number of interactive 3D pictorial maps of different countries and continents. These maps are initially built with Maya, a 3D modeling software, and converted into web pages using the Viewpoint Technology. For statistical maps, Mel scripts have been used in Maya to take input from the user and change the shape of models accordingly to represent data. These maps are interactive and navigable and are designed to be easily accessible on the Web.

Thesis (Ph. D.)--University of Missouri-Columbia, 2001. / Typescript. Vita. Includes bibliographical references (leaves 193-209). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 2001. / Typescript. Vita. Includes bibliographical references (leaves 193-209). Also available on the Internet.

This dissertation analyzes the practice of making indigenous maps and their circulation in Oaxaca from the late sixteenth to the early eighteenth century. Indian maps functioned as visual aids to distribute land for agriculture, ranching, subsistence farming, and mining, they served as legal titles to property, and they participated in large-scale royal projects including aqueducts and assessments of human and natural resources. Map production is examined from four distinct vantage points including social networks, materials and technology, authentication, and reproduction. In each case, maestros pintores--native master painters--collaborated with a host of individuals including Spanish officials, scribes, merchants, ranchers, farmers, town councils, caciques and lesser lords, and legal professionals to visually describe the region's geographical environment. Indigenous mapping practices fostered the development of a new epistemology that combined European and Mesoamerican worldviews to negotiate the allocation of natural resources among the region's Spanish, Amerindian, and mixed-race communities. This work stresses the role of Indian painters in the formation of early modern empires highlighting the way mapmakers challenged Spanish ideals of visual representation instead re-envisioning spatial relations according to local and regional concerns.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1969. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Inaug.-diss.--Frankfurt am Main, 1936. / Lobenslauf. "Literaturnachweis": p. 51.

Includes bibliographical references (p. 62-64). / In Camera Lucida Roland Barthes (1980: 64-66), describes the process of looking through his mother's photographs after her death. He weighs up how much of her he recognises in the images he comes across. He evaluates the versions of her that are portrayed and deduces that "none seem to be really 'right':" neither as photographic performances nor as existing recurrences of "the beloved face" that he carries in his psyche. He talks about trying to find her, and achieves only part satisfaction in pinpointing fragments in each image that seem to depict parts of the mother he knows. He concludes that by being partially true, the total representation in each image is false. He suggests that the physical details and direct documentations of his mother's physical self, do not contain the sense of her, as he knows her.

No description available.