54 research outputs found
The soft-focus lens and Anglo-American pictorialism
No full textElectronic version excludes illustrations for which permission has not been granted by the rights holderThe history, practice and aesthetic of the soft focus lens in photography is elucidated and developed from its earliest statements of need to the current time with a particular emphasis on its role in the development of the Pictorialist movement. Using William Crawford's concept of photographic 'syntax', the use of the soft focus lens is explored as an example of how technology shapes style.
A detailed study of the soft focus lenses from the earliest forms to the present is presented, enumerating the core properties of pinhole, early experimental and commercial soft focus lenses. This was researched via published texts in period journals, advertising, private correspondence, interviews, and the lenses themselves. The author conducted a wide range of in-studio experiments with both period and contemporary soft focus lenses to evaluate their character and distinct features, as well as to validate source material.
Nodal points of this history and development are explored in the critical debate between the diffuse and sharp photographic image, beginning with the competition between the calotype and daguerreotype. The role of George Davison's The Old Farmstead is presented as well as the invention of the first modern soft focus lens, the Dallmeyer-Bergheim, and its function in the development of the popular Pictorialist lens, the Pinkham & Smith Semi-Achromatic. The trajectory of the soft focus lens is plotted against the Pictorialist movement, noting the correlation betwixt them, and the modern renaissance of soft focus lenses and the diffuse aesthetic.
This thesis presents a unique history of photography modeled around the determining character of technology and the interdependency of syntax, style and art
The films of Chantal Akerman : a cinema of displacements
No full textThis thesis attempts to broaden the critical boundaries within which the films of
Chantal Akerman have been discussed. First, it extends analysis from Akerman's
70s to her 80s and 90s films. Second, it argues that as well as her gender and
aesthetic identities, Akerman's Belgian and Jewish identities should be
acknowledged. Finally, it suggests that each of these four identities: woman,
independent film-maker, Belgian and Jewish allow her a position of marginality,
figured in her films through the trope of 'displacement'.
The structure of the thesis is two-fold: it extends discussion of Akerman's cinema to
films not previously considered, and through this extension engages with
contemporary issues in film and cultural theory such as female authorship,
independent and national, and marginal cinemas. Chapter one `Woman' and chapter
two `Independent' extend the reading of gender and sexuality and formal and
aesthetic innovation in Akerman's cinema. In the first chapter this is done through
consideration of the films Golden Eighties (1986) and Nuit et jour (1990), while in
the second her short films, video work and work for television are examined.
My third and fourth chapters offer areas of Akerman's work which have not
previously been studied. Chapter three, `Belgian', considers the significance of
Akerman's nationality for her film-making while engaging with theories around
national cinema. It examines the possibility of a `Belgian national cinema' and the
intersections which arise between this and Akerman's cinema, especially around
Toute une nuit (1982). Finally, in my fourth chapter, `Jewish', I use Histoires
d'Amerigue (1989) and D'Est (1993) to argue that Akerman's is a `wandering'
cinema, in which she is constantly examining the homelessness and displacement
that her Jewishness engenders
Sensors on Vehicles (SENSOVO) – Proof-of-concept for Road Surface Distress Detection with Wheel Accelerations and ToF Camera Data Collected by a Fleet of Ordinary Vehicles
No full textAbstractThis contribution presents the results of the “SENSOVO” project initiated by the Flanders Institute for Mobility (VIM), executed by the University of Antwerp (UAntwerp), the Flemish Institute for Technological Research (VITO) and the Belgian Road Research Centre (BRRC), and supported by several other parties.Both road users and road managers could benefit from massively, continuously, automatized collecting of information on road surface distress (potholes, cracking, subsidence,…) by a fleet of vehicles equipped with low-cost sensors. Road users could have immediate information on road conditions while road managers could get year-round insight on the general performance of the road network in addition to the data they obtain from annual inspections with specialized monitoring devices.The project's objective was to investigate possibilities of road surface distress detection using data collected by a fleet of vehicles. Two scenarios were considered: a large fleet of ordinary cars and trucks transmitting collected relevant sensor data already available on the CAN-bus in such vehicles; a vehicle, equipped with one or more Time-of-Flight cameras (ToF).Data on the CAN-bus were collected using either a CAN-logger that sends its data to a central server using GPRS where it is processed for road surface distress detection, or using an OBD scan-tool that sends its data using Bluetooth to a smartphone that already processes the data into detection events, forwarding only these to a central server. The performances were tested by UAntwerp and VITO. A simple computation developed by UAntwerp on the speed of all four wheels and on the vertical accelerations often allows indicating road distress. Either the CAN data-logger or the smartphone delivers the GPS location of the event. Several cars equipped with this technology sent their observations to a central database.Several ToF cameras were benchmarked by UAntwerp. Road data were collected at 40km/h and 40frames/s with ToF-cameras of brands Mesa and Fotonic. Several image processing algorithms dedicated to the identification of road distress on a flow of images were developed by UAntwerp. It has been demonstrated that several types of “unevenness” of the road surface (including potholes) can be detected. Some ToF-camera observations were added to the central database.The BRRC developed and implemented an algorithm for treatment and interpretation of the collected events in the central database using the ArcGIS software, simulating both sending out alerts to road users and providing daily “quality scores” for each road section in the network to the road manager. For this, the network was defined from a geographical map provided by the Flanders Geographical Information Agency (FGIA/AGIV). As soon as “enough” observations are made taking into account the frequency of observations in time, the defect is considered as real and will be reported. When the defect is no longer observed, it is considered as being repaired. A “score” for each road section was computed daily, from the amount of defects present that day.The SENSOVO project along other recent research projects worldwide delivers a proof-of-concept for fleet probing of road surface distress
Real-time fluorescence lifetime imaging system with a 32 × 32 0.13?m CMOS low dark-count single-photon avalanche diode array
No full textA compact real-time fluorescence lifetime imaging microscopy (FLIM) system based on an array of low dark count 0.13?m CMOS singlephoton avalanche diodes (SPADs) is demonstrated. Fast background-insensitive fluorescence lifetime determination is achieved by use of a recently proposed algorithm called ‘Integration for Extraction Method’ (IEM) [J. Opt. Soc. Am. A 25, 1190 (2008)]. Here, IEM is modified for a wider resolvability range and implemented on the FPGA of the new SPAD array imager. We experimentally demonstrate that the dynamic range and accuracy of calculated lifetimes of this new camera is suitable for widefield FLIM applications by imaging a variety of test samples, including various standard fluorophores covering a lifetime range from 1.6ns to 16ns, microfluidic mixing of fluorophore solutions, and living fungal spores of Neurospora Crassa. The calculated lifetimes are in a good agreement with literature values. Real-time fluorescence lifetime imaging is also achieved, by performing parallel 32 × 16 lifetime calculations, realizing a compact and low-cost FLIM camera and promising for bigger detector arrays.Micro ElectronicsElectrical Engineering, Mathematics and Computer Scienc
AMIVU Acoustic Map Imaging VUB-ULB Dataset
No full textThis dataset contains a collection of both real captured and simulated acoustic images of the UMAP acoustic camera.
Real captured images contain a single sound source for different positions and frequencies.
The images are generated by first capturing the microphone signals and later process them for different resolutions.
The simulated acoustic images are generated by simulating two sound sources at mirrored angles for different frequencies between 2kHz and 10kHz, with steps of 500Hz.
These frequencies are independent of each other.
The sound sources start at a position of 60° and move in steps of 2° towards the center.
The distance between the sound sources and the center of the array is always 1m.
This gives a total of 16 positions for the sound sources and 289 images per position.
Each image is generated for 4 different resolutions (640 × 480, 320 × 240, 160 × 120, 80 × 60). For each one dataset was generated using fractional delays and another without fractional delays with a total of 36992 images.
Images are standardized using instance min-max normalization and logged with uint8 data type, then converted to grayscale in the range [0 - 255] and saved as PNG format with zero compression.
File naming for the simulated images:
Pos__R__L_
For more Information and citation please refer to the paper below.
@Article{s21103453,
AUTHOR = {Almasri, Feras and Vandendriessche, Jurgen and Segers, Laurent and da Silva, Bruno and Braeken, An and Steenhaut, Kris and Touhafi, Abdellah and Debeir, Olivier},
TITLE = {XCycles Backprojection Acoustic Super-Resolution},
JOURNAL = {Sensors},
VOLUME = {21},
YEAR = {2021},
NUMBER = {10},
ARTICLE-NUMBER = {3453},
URL = {https://www.mdpi.com/1424-8220/21/10/3453},
ISSN = {1424-8220},
DOI = {10.3390/s21103453}
Adaptive Video Documentaries
No full textAlthough some interesting architectures are emerging to define and formalize the notion of Adaptive Hypermedia, the research in this field is primarily focused on presentations based on static contents, mainly text and images. We propose an initial step toward the adaptative composition of video documentaries, that is video presentations based on still 2D images. Video clips are built by applying cinematic techniques - camera movements and transition effects - to images. The novelty of our approach stems from the application of adaptive hypermedia techniques to the dynamic composition of video documentaries exploiting the basic notions of cinematography, paying particular attention to the choice and the duration of transitions between shots. In this work we introduce XASCRIPT, a flexible mark-up formalism that allows a hypotetical author to define a set of possible video documentaries, from which user-tailored documentaries can be dynamically assembled. The author, via a graphical interface (under development), can describe templates that represent a set of 'potential' video documentaries, with instructions for the selection and the editing of the elements of the video clips. The templates include 'adaptation rules' as multiple-choice points, along which the presentation is tailored to a specific user. The application supports both content adaptation and dynamic selection of transition effects between video shot
El teatro de Lope a la vera del siglo xxi: La adaptación cinematográfica de El perro del hortelano
No full textOur work seeks to analyze in detail El perro del hortelano’s cinematographic adaptation made by spanish director Pilar Miró. The original play is one of most renowned palatine comedies of the prolific Golden Age’s author, Félix Lope de Vega y Carpio. In each of its features (script, edition, costumes, performances, staging, camera approach, symbology), we will point out a personal reading of the canonical text that implicitly involves an essential debate in modern literary criticism: four hundred years between the play and the film should remember us that every adaptation leads to a rereading in a modern key that ends up creating, inexorably, a new sense arising from the aesthetic and ideological values of the present.Nuestro trabajo propone analizar en detalle la adaptación cinematográfica que la directora española Pilar Miró realizó de El perro del hortelano (1612), una de las más reconocidas comedias palatinas del más prolífico autor teatral del siglo de oro, Félix Lope de Vega y Carpio. En cada uno de sus registros fílmicos (guion, montaje, vestuario, actuaciones, escenificación, enfoque de cámara, simbología) señalaremos una lectura personal del texto canónico que conlleva implícito un debate esencial en la crítica literaria moderna: el solo hecho de mediar casi cuatrocientos años entre la pieza teatral y la película nos debe recordar que toda adaptación acarrea una relectura en clave moderna que acaba creando, inexorablemente, un sentido nuevo surgido de los valores estéticos e ideológicos del presente
Messaggi nella bottiglia: sul saggismo letterario e civile di Francesca Sanvitale
No full textIl presente studio è dedicato alla produzione saggistica della scrittrice Francesca Sanvitale (1928-2011). Tale produzione è stata riunita in due volumi, Mettendo a fuoco e Camera ottica, pubblicati nel 1988 e nel 1999. Il saggismo dell\u27autrice stato studiato a partire da una griglia di lettura in cui Alfonso Berardinelli evidenzia le tre dimensioni fondamentali riconoscibili nel genere saggistico: una dimensione teorico-concettuale, una dimensione pragmatico-comunicativa, una dimensione stilistica (in cui Berardinelli fa rientrare anche i temi e le metafore ossessive utilizzate dallo scrittore). Dall\u27analisi condotta emergono le peculiarità di un saggismo che si dedica ad argomenti diversi, dall\u27attualità alle questioni di impegno civile, dalla riflessione sul quotidiano alle grandi questioni della letteratura, evidenziando, in particolare sul piano stilistico, volontà di ricerca e originalità . In ultima analisi, il saggismo appare come un filo rosso che attraversa tutta la produzione della Sanvitale: dal romanzo-saggio degli esordi fino agli articoli e alle raccolte di saggi, si può dire che la vocazione profonda della scrittrice milanese sia proprio quella saggistica, intesa come testimonianza e volontà di intervento, affermazione del proprio impegno culturale e civile, ma anche, nello stesso tempo, indagine sul valore della letteratura e sul senso che essa può ancora assumere nella società moderna.
The present study is dedicated to Francesca Sanvitales essay writing. This production is collected in two volumes: Mettendo a fuoco and Camera ottica, published in 1988 and 1999. The authors essay writing has been studied from a reading grid through which Alfonso Berardinelli stresses the three fundamental dimensions that are recognizable in the essay genre: a theoretical-conceptual dimension, a pragmatic-communicative dimension, a stylistic dimension (in which Berardinelli also includes the themes and the obsessive metaphors used by the author). The analysis examines the peculiarities of an essay writing focused on different subjects (from current events to civil commitment issues, from reflections on daily life to great literary problems) and which emphasizes, particularly on the stylistic level, searching will and originality. Ultimately, the essay writing seems to be a red thread running through Sanvitales work. From the beginning novel-essay to the articles and the essay collections, it can be said that the Milanese writers deep vocation is precisely the essayistic one, meant as testimony and intervention will, affirmation of her own cultural and civil commitment, but also, at the same time, investigation on the value of literature and on the sense which it can still have in modern society.
PAROLE CHIAVE
Dimensioni del saggismo; impegno civile; critica letteraria; Italia; crisi sociale; ruolo dell’intellettuale.Il presente studio è dedicato alla produzione saggistica della scrittrice Francesca Sanvitale (1928-2011). Tale produzione è stata riunita in due volumi, Mettendo a fuoco e Camera ottica, pubblicati nel 1988 e nel 1999. Il saggismo dell\u27autrice stato studiato a partire da una griglia di lettura in cui Alfonso Berardinelli evidenzia le tre dimensioni fondamentali riconoscibili nel genere saggistico: una dimensione teorico-concettuale, una dimensione pragmatico-comunicativa, una dimensione stilistica (in cui Berardinelli fa rientrare anche i temi e le metafore ossessive utilizzate dallo scrittore). Dall\u27analisi condotta emergono le peculiarità di un saggismo che si dedica ad argomenti diversi, dall\u27attualità alle questioni di impegno civile, dalla riflessione sul quotidiano alle grandi questioni della letteratura, evidenziando, in particolare sul piano stilistico, volontà di ricerca e originalità . In ultima analisi, il saggismo appare come un filo rosso che attraversa tutta la produzione della Sanvitale: dal romanzo-saggio degli esordi fino agli articoli e alle raccolte di saggi, si può dire che la vocazione profonda della scrittrice milanese sia proprio quella saggistica, intesa come testimonianza e volontà di intervento, affermazione del proprio impegno culturale e civile, ma anche, nello stesso tempo, indagine sul valore della letteratura e sul senso che essa può ancora assumere nella società moderna.
The present study is dedicated to Francesca Sanvitales essay writing. This production is collected in two volumes: Mettendo a fuoco and Camera ottica, published in 1988 and 1999. The authors essay writing has been studied from a reading grid through which Alfonso Berardinelli stresses the three fundamental dimensions that are recognizable in the essay genre: a theoretical-conceptual dimension, a pragmatic-communicative dimension, a stylistic dimension (in which Berardinelli also includes the themes and the obsessive metaphors used by the author). The analysis examines the peculiarities of an essay writing focused on different subjects (from current events to civil commitment issues, from reflections on daily life to great literary problems) and which emphasizes, particularly on the stylistic level, searching will and originality. Ultimately, the essay writing seems to be a red thread running through Sanvitales work. From the beginning novel-essay to the articles and the essay collections, it can be said that the Milanese writers deep vocation is precisely the essayistic one, meant as testimony and intervention will, affirmation of her own cultural and civil commitment, but also, at the same time, investigation on the value of literature and on the sense which it can still have in modern society.
PAROLE CHIAVE
Dimensioni del saggismo; impegno civile; critica letteraria; Italia; crisi sociale; ruolo dell’intellettuale.Il presente studio è dedicato alla produzione saggistica della scrittrice Francesca Sanvitale (1928-2011). Tale produzione è stata riunita in due volumi, Mettendo a fuoco e Camera ottica, pubblicati nel 1988 e nel 1999. Il saggismo dell\u27autrice stato studiato a partire da una griglia di lettura in cui Alfonso Berardinelli evidenzia le tre dimensioni fondamentali riconoscibili nel genere saggistico: una dimensione teorico-concettuale, una dimensione pragmatico-comunicativa, una dimensione stilistica (in cui Berardinelli fa rientrare anche i temi e le metafore ossessive utilizzate dallo scrittore). Dall\u27analisi condotta emergono le peculiarità di un saggismo che si dedica ad argomenti diversi, dall\u27attualità alle questioni di impegno civile, dalla riflessione sul quotidiano alle grandi questioni della letteratura, evidenziando, in particolare sul piano stilistico, volontà di ricerca e originalità . In ultima analisi, il saggismo appare come un filo rosso che attraversa tutta la produzione della Sanvitale: dal romanzo-saggio degli esordi fino agli articoli e alle raccolte di saggi, si può dire che la vocazione profonda della scrittrice milanese sia proprio quella saggistica, intesa come testimonianza e volontà di intervento, affermazione del proprio impegno culturale e civile, ma anche, nello stesso tempo, indagine sul valore della letteratura e sul senso che essa può ancora assumere nella società moderna.
The present study is dedicated to Francesca Sanvitales essay writing. This production is collected in two volumes: Mettendo a fuoco and Camera ottica, published in 1988 and 1999. The authors essay writing has been studied from a reading grid through which Alfonso Berardinelli stresses the three fundamental dimensions that are recognizable in the essay genre: a theoretical-conceptual dimension, a pragmatic-communicative dimension, a stylistic dimension (in which Berardinelli also includes the themes and the obsessive metaphors used by the author). The analysis examines the peculiarities of an essay writing focused on different subjects (from current events to civil commitment issues, from reflections on daily life to great literary problems) and which emphasizes, particularly on the stylistic level, searching will and originality. Ultimately, the essay writing seems to be a red thread running through Sanvitales work. From the beginning novel-essay to the articles and the essay collections, it can be said that the Milanese writers deep vocation is precisely the essayistic one, meant as testimony and intervention will, affirmation of her own cultural and civil commitment, but also, at the same time, investigation on the value of literature and on the sense which it can still have in modern society.
PAROLE CHIAVE
Dimensioni del saggismo; impegno civile; critica letteraria; Italia; crisi sociale; ruolo dell’intellettuale.Il presente studio è dedicato alla produzione saggistica della scrittrice Francesca Sanvitale (1928-2011). Tale produzione è stata riunita in due volumi, Mettendo a fuoco e Camera ottica, pubblicati nel 1988 e nel 1999. Il saggismo dell\u27autrice stato studiato a partire da una griglia di lettura in cui Alfonso Berardinelli evidenzia le tre dimensioni fondamentali riconoscibili nel genere saggistico: una dimensione teorico-concettuale, una dimensione pragmatico-comunicativa, una dimensione stilistica (in cui Berardinelli fa rientrare anche i temi e le metafore ossessive utilizzate dallo scrittore). Dall\u27analisi condotta emergono le peculiarità di un saggismo che si dedica ad argomenti diversi, dall\u27attualità alle questioni di impegno civile, dalla riflessione sul quotidiano alle grandi questioni della letteratura, evidenziando, in particolare sul piano stilistico, volontà di ricerca e originalità . In ultima analisi, il saggismo appare come un filo rosso che attraversa tutta la produzione della Sanvitale: dal romanzo-saggio degli esordi fino agli articoli e alle raccolte di saggi, si può dire che la vocazione profonda della scrittrice milanese sia proprio quella saggistica, intesa come testimonianza e volontà di intervento, affermazione del proprio impegno culturale e civile, ma anche, nello stesso tempo, indagine sul valore della letteratura e sul senso che essa può ancora assumere nella società moderna.
The present study is dedicated to Francesca Sanvitales essay writing. This production is collected in two volumes: Mettendo a fuoco and Camera ottica, published in 1988 and 1999. The authors essay writing has been studied from a reading grid through which Alfonso Berardinelli stresses the three fundamental dimensions that are recognizable in the essay genre: a theoretical-conceptual dimension, a pragmatic-communicative dimension, a stylistic dimension (in which Berardinelli also includes the themes and the obsessive metaphors used by the author). The analysis examines the peculiarities of an essay writing focused on different subjects (from current events to civil commitment issues, from reflections on daily life to great literary problems) and which emphasizes, particularly on the stylistic level, searching will and originality. Ultimately, the essay writing seems to be a red thread running through Sanvitales work. From the beginning novel-essay to the articles and the essay collections, it can be said that the Milanese writers deep vocation is precisely the essayistic one, meant as testimony and intervention will, affirmation of her own cultural and civil commitment, but also, at the same time, investigation on the value of literature and on the sense which it can still have in modern society.
PAROLE CHIAVE
Dimensioni del saggismo; impegno civile; critica letteraria; Italia; crisi sociale; ruolo dell’intellettuale
El teatro de Lope a la vera del siglo xxi: La adaptación cinematográfica de El perro del hortelano
No full textOur work seeks to analyze in detail El perro del hortelano’s cinematographic adaptation made by spanish director Pilar Miró. The original play is one of most renowned palatine comedies of the prolific Golden Age’s author, Félix Lope de Vega y Carpio. In each of its features (script, edition, costumes, performances, staging, camera approach, symbology), we will point out a personal reading of the canonical text that implicitly involves an essential debate in modern literary criticism: four hundred years between the play and the film should remember us that every adaptation leads to a rereading in a modern key that ends up creating, inexorably, a new sense arising from the aesthetic and ideological values of the present.Nuestro trabajo propone analizar en detalle la adaptación cinematográfica que la directora española Pilar Miró realizó de El perro del hortelano (1612), una de las más reconocidas comedias palatinas del más prolífico autor teatral del siglo de oro, Félix Lope de Vega y Carpio. En cada uno de sus registros fílmicos (guion, montaje, vestuario, actuaciones, escenificación, enfoque de cámara, simbología) señalaremos una lectura personal del texto canónico que conlleva implícito un debate esencial en la crítica literaria moderna: el solo hecho de mediar casi cuatrocientos años entre la pieza teatral y la película nos debe recordar que toda adaptación acarrea una relectura en clave moderna que acaba creando, inexorablemente, un sentido nuevo surgido de los valores estéticos e ideológicos del presente
Semiotics of Allegory: Queerness in Contemporary Taiwan and Hong Kong Novel and Cinema
No full textThis project offers the framework of “semiotics of allegory” as an alternative to Fredric Jameson’s national allegory for studying non-Western cultural products by emphasising their plural meanings of signs and the importance of situating their reading in production discourse. Against Confucianism and Buddhism, a study of the semiotics of allegory focuses on the relationship between queer representations and the space, the image, the music, and the myth in four cultural texts. They are Pai Hsien-yung’s 白先勇 novel Niezi (孽子, Crystal Boys, 1983), Chu T’ien-wen’s 朱天文 novel Huangren shouji (荒人手記, Notes of a Desolate Man, 1994), Tsai Ming-liang’s 蔡明亮 film Heliu (河流 The River, 1997), and Wong Kar-wai’s 王家衛 film Ceon gwong zaa sit (春光乍洩 Happy Together, 1997). This project adopts Shih Shu-mei’s framework of Sinophone studies, Chen Kuan-hsing’s inter- Asian studies in Asia as Method, and the theories of Judith Butler, Roland Barthes, and Rebecca Braun. Judith Butler’s notions of queer performativity in Bodies That Matter (1993) and alternative kinship in Antigone’s Claim (2000) and “Is Kinship Always Already Heterosexual?” (2002) are relevant to studying the gays’ and queers’ agency and family relationships. Roland Barthes’ view on the process of writing, reading, and meaning-making as non-binary acts of creativity in Writing Degree Zero (1953), The Neutral (2002), and Empire of Signs (1970) are useful for the re-interpretation of these Sinophone allegories. Also, his thoughts about the excess of meaning in “The Third Meaning” (1970), his five-code module about the structuring or structuration of writerly text in S/Z (1970), his idea of punctum that emphasises affects (emotions) in Camera Lucida (1980), and his neologism of ideology-as-mask in language as “myth” in Mythologies (1957) will also be deployed. Lastly, bringing back the author to life from the Barthesian notion of “Death of the Author” by borrowing the world authorship researcher Rebecca Braun’s Bourdieusian idea of emphasising the “collaboration” and “interaction” between author and other players in the cultural production field, this study calls for the interpretations of non-Western cultures to go beyond literalism, geopolitics, and nationalism
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