Potential Images

In Potential Images Dario Gamboni explores ambiguity in modern art, considering images that rely to a great degree on a projected or imaginative response from viewers to achieve their effect. Ambiguity became increasingly important in late 19th- and early 20th-century aesthetics, as is evidenced in works by such artists as Redon, Cezanne, Gauguin, Ensor and the Nabis. Similarly, the Cubists subverted traditional representational conventions, requiring their viewers to decipher images to extract their full meanings. The same device was taken up in the various experiments leading to abstraction. For example, it was Kandinsky's intention that his work could be interpreted in both figurative and non-figurative ways, and Duchamp's Readymades suggested the radical conclusion that 'it is the beholder who makes the picture'. These invitations to viewers to participate in the process of artistic communication had social and political implications, as they accorded artist and beholder symmetrical, almost interchangeable, roles.

A collection of classic and contemporary articles demonstrating the development of historical archaeology over the past 20 years, both in North America and throughout the world. Contains sections on recent perspectives, people and places, historic artifacts, interdisciplinary studies, landscape studies, and international historical archaeology. For use in historical archaeology classes. No index. Annotation copyrighted by Book News, Inc., Portland, OR

This book focuses on the methodologies, organization, and communication of digital image collection research that utilizes social media content. ("Image" is here understood as a cultural, conventional, and commercial—stock photo—representation.) The lecture offers expert views that provide different interpretations of images and their potential implementations. Linguistic and semiotic methodologies as well as eye-tracking research are employed to both analyze images and comprehend how humans consider them, including which salient features generally attract viewers' attention. This literature review covers image—specifically photographic—research since 2005, when major social media platforms emerged. A citation analysis includes an overview of co-citation maps that demonstrate the nexus of image research literature and the journals in which they appear. Eye tracking tests whether scholarly templates focus on the proper features of an image, such as people, objects, time, etc., and if a prescribed theme affects the eye movements of the observer. The results may point to renewed requirements for building image search engines. As it stands, image management already requires new algorithms and a new understanding that involves text recognition and very large database processing. The aim of this book is to present different image research areas and demonstrate the challenges image research faces. The book's scope is, by necessity, far from comprehensive, since the field of digital image research does not cover fake news, image manipulation, mobile photos, etc.; these issues are very complex and need a publication of their own. This book should primarily be useful for students in library and information science, psychology, and computer science.

Power up your Python with object-oriented programming and learn how to write powerful, efficient, and re-usable code. Object-Oriented Python is an intuitive and thorough guide to mastering object-oriented programming from the ground up. You’ll cover the basics of building classes and creating objects, and put theory into practice using the pygame package with clear examples that help visualize the object-oriented style. You’ll explore the key concepts of object-oriented programming — encapsulation, polymorphism, and inheritance — and learn not just how to code with objects, but the absolute best practices for doing so. Finally, you’ll bring it all together by building a complex video game, complete with full animations and sounds. The book covers two fully functional Python code packages that will speed up development of graphical user interface (GUI) programs in Python.

An examination of how artists have combined performance and moving image for decades, anticipating our changing relation to images in the internet era. In Performing Image, Isobel Harbison examines how artists have combined performance and moving image in their work since the 1960s, and how this work anticipates our changing relations to images since the advent of smart phones and the spread of online prosumerism. Over this period, artists have used a variety of DIY modes of self-imaging and circulation—from home video to social media—suggesting how and why Western subjects might seek alternative platforms for self-expression and self-representation. In the course of her argument, Harbison offers close analyses of works by such artists as Robert Rauschenberg, Yvonne Rainer, Mark Leckey, Wu Tsang, and Martine Syms. Harbison argues that while we produce images, images also produce us—those that we take and share, those that we see and assimilate through mass media and social media, those that we encounter in museums and galleries. Although all the artists she examines express their relation to images uniquely, they also offer a vantage point on today's productive-consumptive image circuits in which billions of us are caught. This unregulated, all-encompassing image performativity, Harbison writes, puts us to work, for free, in the service of global corporate expansion. Harbison offers a three-part interpretive framework for understanding this new proximity to images as it is negotiated by these artworks, a detailed outline of a set of connected practices—and a declaration of the value of art in an economy of attention and a crisis of representation.

This book constitutes the refereed proceedings of the 15th International Conference on Image Analysis and Processing, ICIAP 2009, held in Vietri sul Mare, Italy, in September 2009. The 107 revised full papers presented together with 3 invited papers were carefully reviewed and selected from 168 submissions. The papers are organized in topical sections on computer graphics and image processing, low and middle level processing, 2D and 3D segmentation, feature extraction and image analysis, object detection and recognition, video analysis and processing, pattern analysis and classification, learning, graphs and trees, applications, shape analysis, face analysis, medical imaging, and image analysis and pattern recognition.