The use of still images in instruction has a long history in the field of education. With the widespread use of microcomputers and the development of graphic software, the ability to create and use animated images has greatly increased; today many people use animated images in their teaching and training activities. Since the use of different types of images in instruction has various influences on students'learning results, the different effects between animated images and still images have been studied widely among researchers. However, the research results are not consistent. Some research results show that animated images are more effective than still images and some show no difference or less effective results. This experimental study explores the effects of animated images and still images on college students' learning of motion-related tasks and non-motion related tasks, with the students possessing different levels of field dependence-independence. This study found that: For learning tasks involving motion and/or change, animated images were more effective than still images for college students, and field dependent students benefited more from animated images than did the field independent students. However, for learning tasks that did not involve motion or change, there was no difference in learning results from the use of still images as opposed to animated images. In addition, for such learning tasks, there was no difference in the learning benefits of still images to field dependent versus field independent learners. / Ph. D.

Liminal Perspective refers to an alternative theoretical framework for understanding the interpretation of pictorial space in visual art when influenced by new technologies. Creating the illusion of depth on a two-dimensional surface has relied on the theory of linear perspective created in the renaissance. Leon Battista Alberti, in his landmark work De Pictura, created a geometric system for the illusion of deep space that uses orthogonals and a vanishing point to allow objects to diminish as they move backwards in space. This theory placed humans at the center of perception and the singular vantage point of pictorial space. Alberti's theory marked a huge philosophical shift from a god-centric worldview to a human-centric one. Technology, however, is rapidly changing our functional relationship to perspective and allows an expanded understanding of perception. Humans are no longer single vantage points but rather exist in tandem with technological augmentations like smart phones. The body of work discussed in this paper imagines alternative artwork-viewer relationships to what have been historically proposed by still-life painters in classical history such as those in the Dutch Golden Age. Using 3D animation in combination with computer vision and physical computing, Liminal Perspective explores new interpretations of pictorial space and how our perceptual philosophies might evolve to keep up with technology's evolution. / Master of Fine Arts / Liminal Perspective is a paper and body of visual art that uses interactive 3D animation to examine the historical genre of still-life painting. Creating the illusion of depth on a two-dimensional surface has relied on the theory of linear perspective created in the renaissance. This theory placed humans at the center of perception and the singular vantage point of pictorial space. Technology, however, is rapidly changing our functional relationship to perspective and allows an expanded understanding of perception. Humans are no longer single vantage points but rather exist in tandem with technological augmentations like smart phones. The body of work discussed in this paper imagines alternative artwork-viewer relationships to what have been historically proposed by still-life painters in classical history such as those in the Dutch Golden Age. Using 3D animation in combination with computer vision and physical computing, Liminal Perspective explores new interpretations of pictorial space and how our perceptual philosophies might evolve to keep up with technology's evolution.

No description available.

This thesis deals with copyright protection and content authentication for still images. New blind transform domain block based algorithms using one-level and two-level Discrete Wavelet Transform (DWT) were developed for copyright protection. The mobile number with international code is used as the watermarking data. The robust algorithms used the Low-Low frequency coefficients of the DWT to embed the watermarking information. The watermarking information is embedded in the green channel of the RGB colour image and Y channel of the YCbCr images. The watermarking information is scrambled by using a secret key to increase the security of the algorithms. Due to the small size of the watermarking information comparing to the host image size, the embedding process is repeated several times which resulted in increasing the robustness of the algorithms. Shuffling process is implemented during the multi embedding process in order to avoid spatial correlation between the host image and the watermarking information. The effects of using one-level and two-level of DWT on the robustness and image quality have been studied. The Peak Signal to Noise Ratio (PSNR), the Structural Similarity Index Measure (SSIM) and Normalized Correlation Coefficient (NCC) are used to evaluate the fidelity of the images. Several grey and still colour images are used to test the new robust algorithms. The new algorithms offered better results in the robustness against different attacks such as JPEG compression, scaling, salt and pepper noise, Gaussian noise, filters and other image processing compared to DCT based algorithms. The authenticity of the images were assessed by using a fragile watermarking algorithm by using hash function (MD5) as watermarking information embedded in the spatial domain. The new algorithm showed high sensitivity against any tampering on the watermarked images. The combined fragile and robust watermarking caused minimal distortion to the images. The combined scheme achieved both the copyright protection and content authentication.

This exegesis is an exploration of meditative process in painting and drawing and accompanies an exhibition of paintings and large drawings called What Lies Beneath. The text contains several passages, called &quotmeditations,&quot which accompany the themes approached in the chapters and give insight into the thoughts and practices of the artist. The methodology involves the examination of the evidence of the work produced by selected artists, looking at the words of artists in notebooks, diaries and interviews and surveying a small number of local contemporary artists. The text opens up the possibilities of drapery and garments and of still life as paths to meditative practice in painting and drawing. The qualities that characterize meditative process/practice, derived from my observations, are categorized. Some of the strengths of these processes are revealed through the examination of the work of artists, both contemporary and historical. The work of Vermeer, Sanchez Cotan, Francisco Zurbaran and contemporary artists Anne Judell, Simon Cooper, Jude Rae, Alison Watt and Eva Hesse highlight different aspects of the meditative process in painting and drawing. The art works in the exhibition are documented and bring out the meditative processes that have contributed to their creation, including the use and meaning of the subject (drapery and the garment as a form of still life).

<p>The purpose of this paper is to analyse how work by Swedish artist Ylva Ogland (born in 1974) function as an eye-opener for the social marginalisation of people identified with homosexuality, prostitution and drug addiction. Although highly present in reality, these phenomena were historically, and are still today, hidden from view in public discourse. I have focused on the installations Rapture and Silence and Things Seen, and the still-life painting called Xenia. I argue that these artworks carefully represent the above-mentioned marginalised groups, by way of references to comparable motives in the history of art, from neoclassicism in France, to realism and romanticism.</p>

The purpose of this paper is to analyse how work by Swedish artist Ylva Ogland (born in 1974) function as an eye-opener for the social marginalisation of people identified with homosexuality, prostitution and drug addiction. Although highly present in reality, these phenomena were historically, and are still today, hidden from view in public discourse. I have focused on the installations Rapture and Silence and Things Seen, and the still-life painting called Xenia. I argue that these artworks carefully represent the above-mentioned marginalised groups, by way of references to comparable motives in the history of art, from neoclassicism in France, to realism and romanticism.

Submitted by Edileide Reis (leyde-landy@hotmail.com) on 2013-04-09T17:08:28Z No. of bitstreams: 2 Lígia 2.pdf: 3381746 bytes, checksum: 253ceaf4171afa46f392ca545a8c304d (MD5) Lígia 1.pdf: 2573838 bytes, checksum: fed74fe15519e90f3d6de6ed52a36cae (MD5) / Approved for entry into archive by Lêda Costa(lmrcosta@ufba.br) on 2013-04-18T12:36:23Z (GMT) No. of bitstreams: 2 Lígia 2.pdf: 3381746 bytes, checksum: 253ceaf4171afa46f392ca545a8c304d (MD5) Lígia 1.pdf: 2573838 bytes, checksum: fed74fe15519e90f3d6de6ed52a36cae (MD5) / Made available in DSpace on 2013-04-18T12:36:23Z (GMT). No. of bitstreams: 2 Lígia 2.pdf: 3381746 bytes, checksum: 253ceaf4171afa46f392ca545a8c304d (MD5) Lígia 1.pdf: 2573838 bytes, checksum: fed74fe15519e90f3d6de6ed52a36cae (MD5) Previous issue date: 2011 / Esta dissertação detalha as etapas do processo criativo para a concepção de um painel modular de uma Coleção de pinturas figurativas de objetos singulares, constituído por 72 telas de 40 X 40 cm cada, apresentado no Museu de Arte Contemporânea do Paraná, em 2011. As seguintes ações processuais delinearam a pesquisa: uma coleta fotográfica de objetos de escolha pessoal e, ou, pertencentes a diversos indivíduos, nas cidades de Curitiba, no Paraná e de Salvador, na Bahia, acompanhada pelos depoimentos dos participantes, registrados em fichas individuais. A seguir, os objetos fotografados tornaram-se os modelos para as 72 pinturas das „coisas inanimadas‟, em referência ao gênero denominado Natureza Morta. O processo que reuniu objetos / sujeitos / interações/ pesquisadora encontra-se aqui circundado pela poética de Gaston Bachelard, apoiado nos conceitos da semiologia dos objetos a partir de Jean Baudrillard, da crítica do design, em Deyan Sudjic e observa as considerações de Gilles Lipovetsky a respeito das culturas da moda e do consumo. Georges Perec e Walter Benjamin foram buscados para assegurar os respectivos respaldos, literário e conceitual, dos significados de „coleção‟, entre abordagens igualmente verificadas junto a outros autores complementares para, metodologicamente organizar as bases das discussões teóricas relativas aos tensionamentos plásticos propostos. Ao abrir as portas para sair da intimidade de um atelier e percorrer outros territórios e lugares, os objetos encontrados revelaram-se não apenas modelos para pintura, mas matérias mediadoras da persistência do tempo que separa os homens das suas coisas ou que, por alguns breves instantes, os une. / Salvador

This study aimed to craft production in copper stills, the spirits of honey of different flowers, juice of sugar cane, honey bees, sugar cane and grape mixed (juice of cane sugar and honey from different flowers) and subsequent aging in oak barrels.The tests were conductedby mixing 75% juice with 25% inoculum (30L and 10L, respectively). The grape juice were cane sugar, honey bees-of-seven different flowers and mixed (where the ratio of 50% by volume for each party).Samples were taken must and wine, quantifying pH, sulfuric acid, ART, Brix, and also ethanol content in wine. In conducting fetched, three fractions were taken: head (8%), heart (84%) and tail (8%), quantifying pH, density, alcohol content, dry extract and acetic acid.The operating temperatures of the still were split head, with initial and final temperatures respectively equal to 89.3 and 93.0 o C; fraction of heart, 93.0 and 96.0 ° C and split tail, 96.0 and 97 , 0 ° C. The duration of each step was about 25 minutes, 70 minutes and 23 minutes respectively, and volumes were obtained 500mL, 500mL and5380mL in the same order. During aging, were measured monthly, alcoholic, acetic acid, pH, solids, density, evaporation rate, visual appearance and color.The results indicated that it is possible to produce brandy honey from different flowers, with appropriate physical and chemical characteristics.The production of grape brandy using resulted in mixed drink with different physical and chemical characteristics in relation to the sugar cane and similar to those obtained with the respective pure honey.This mixture reduces the production costs of brandy,when compared with that produced from pure honey. When we worked with the honey wine, which showed better fermentation efficiencywas honey G (mixed flora, from the state of Ceara).However, when working with mixed wine, the best performance was obtained with Mel C (mixed flora, native of the City of Pao de Acucar - AL). / Fundação de Amparo a Pesquisa do Estado de Alagoas / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Este estudo objetivou a producao artesanal, em alambique de cobre, de aguardentes de mel de abelhas de diferentes floradas, de caldo de cana-de-acucar, de mel de abelhas de cana-de-acucar e de mostos mistos (caldo de cana-de-acucar e mel de abelhas de diferentes floradas) e posterior envelhecimento em barris de carvalho. Os ensaios foram conduzidos misturando-se 75% de mosto com 25% de inoculo (30L e 10L, respectivamente). Os mostos foram de caldo de cana-de-acucar, de mel-de-abelhas de 7 diferentes floradas e mistos (sempre na proporcao de 50%, em volume, para cada uma das partes). Foram retiradas amostras de mosto e de vinho, quantificando-se pH, acidez sulfurica, ART, Brix e, tambem, teor de etanol no vinho. Na conducao das alambicadas, foram retiradas 3 fracoes: de cabeca (8%), de coracao (84%) e de cauda (8%), quantificando-se pH, densidade, teor alcoolico, extrato seco e acidez acetica. As temperaturas de operacao do alambique foram: fracao de cabeca, com temperaturas inicial e final, respectivamente iguais a 89,3 e 93,0oC; fracao de coracao, 93,0 e 96,0oC e fracao de cauda, 96,0 e 97,0oC. A duracao de cada etapa foi de cerca de 25 minutos, 70 minutos e 23 minutos, respectivamente, e os volumes obtidos foram 500mL, 5380mL e 500mL, na mesma ordem. Durante o envelhecimento, foram quantificados, mensalmente, teor alcoolico, acidez acetica, pH, extrato seco, densidade, taxa de evaporacao, aspecto visual e cor. Os resultados obtidos indicaram que e possivel a producao de aguardente de mel de abelhas de diferentes floradas, com caracteristicas fisico-quimicas adequadas. A producao de aguardente utilizando-se mostos mistos resultou em bebida com caracteristicas fisico-quimicas diferenciadas em relacao a da cana-deacucar e semelhantes as obtidas com os respectivos meis puros. Esta mistura reduz os custos de producao da aguardente, quando se compara com a produzida a partir de meis puros. Quando se trabalhou com mosto de mel de abelhas, o que apresentou melhor eficiencia de fermentacao foi o mel G (florada mista, oriundo do estado do Ceara).Porem, quando se trabalhou com mosto misto, o melhor desempenho foi obtido com o mel C (florada mista, oriundo do Municipio de Pão-de-Acucar – AL).

The present study investigated whether the teaching of L2 vocabulary with still cartoon pictures and animated cartoon pictures would result in a significant difference in second language learners' receptive and productive knowledge of the target words. Also, the effect of test type (receptive vs. productive) on participants' retention of the target words was examined. Finally, the study tried to find out whether the semantic category of vocabulary words influences the rate of successful vocabulary retention across picture types. For the purpose, a group of 17 ESL students from a Midwestern University participated in both treatments with still and animated pictures, followed by vocabulary tests. The results showed that over 80% of the target words were successfully retrieved on the receptive knowledge tests vs. only about 40% successful retrieval on the productive knowledge tests. Yet, the results did not reveal significant differences in vocabulary gain due to picture type as both treatments showed similar success rate of retention of the target words, especially in view of receptive knowledge. Also, neither of the two types of pictures was effective in facilitating productive knowledge of the target words. In addition, the study found that some semantic categories of vocabulary words may be easier to recall than others.