Scenes Of Projection

Theorizing vision and power at the intersections of the histories of psychoanalysis, media, scientific method, and colonization, Scenes of Projection poaches the prized instruments at the heart of the so-called scientific revolution: the projecting telescope, camera obscura, magic lantern, solar microscope, and prism. From the beginnings of what is retrospectively enshrined as the origins of the Enlightenment and in the wake of colonization, the scene of projection has functioned as a contraption for creating a fantasy subject of discarnate vision for the exercise of “reason.” Jill H. Casid demonstrates across a range of sites that the scene of projection is neither a static diagram of power nor a fixed architecture but rather a pedagogical setup that operates as an influencing machine of persistent training. Thinking with queer and feminist art projects that take up old devices for casting an image to reorient this apparatus of power that produces its subject, Scenes of Projection offers a set of theses on the possibilities for felt embodiment out of the damaged and difficult pasts that haunt our present.

2013 Governor General’s Literary Award — Shortlisted, Non-Fiction 2013 Hilary Weston Writers’ Trust — Shortlisted, Non-Fiction Projection is the story of this mother-daughter meeting in Brazil, of how two strangers, connected by little more than blood, spent ten days together trying to build a relationship. In 1977, Priscila Uppal’s father drank contaminated water in Antigua and within 48 hours was a quadriplegic. Priscila was two years old. Five years later, her mother, Theresa, drained the family’s bank accounts and disappeared to Brazil. After two attempts to abduct her children, Theresa had no further contact with the family. In 2002, Priscila happened on her mother’s website, which featured a childhood photograph of Priscila and her brother. A few weeks later, Priscila summoned the nerve to contact the woman who’d abandoned her. The emotional reunion was alternately shocking, hopeful, humorous, and devastating, as Priscila came to realize that not only did she not love her mother, she didn’t even like her. Projection is a visceral, precisely written, brutally honest memoir that takes a probing look at a very unusual mother-daughter relationship, yet offers genuine comfort to all facing their own turbulent and unresolved familial relationships.

Information systems with an abundance of graphics data are growing rapidly due to advances in data storage technology, the development of multimedia communications across networks, and the fact that parallel computers are leading to faster image processing systems. This book addresses image information retrieval and spatial reasoning using an approach called Symbolic Projection, which supports descriptions of the image content on the basis of the spatial relationships between the pictorial objects. Image information systems have a wide variety of applications, including information retrieval on the World Wide Web, medical pictorial archiving, computer-aided design, robotics, and geographical information systems, and this book is comprehensively illustrated with examples from these areas. Symbolic Projection now forms the basis of an enormous number and range of information retrieval algorithms, and also supports query-by-picture and qualitative spatial reasoning. Both authors are international experts in the field, and the book will serve as an excellent source for those working in multimedia systems and image information systems who wish to find out more about this exciting area. An all-inclusive source to the field--all you need to know S-K. Chang is the leading authority in this field, which he pioneered Includes a wide variety of applications, including information retrieval on the World Wide Web, computer-aided design, and geographical information systems

This unique work presents a detailed review of the processing and analysis of 3D point clouds. A fully automated framework is introduced, incorporating each aspect of a typical end-to-end processing workflow, from raw 3D point cloud data to semantic objects in the scene. For each of these components, the book describes the theoretical background, and compares the performance of the proposed approaches to that of current state-of-the-art techniques. Topics and features: reviews techniques for the acquisition of 3D point cloud data and for point quality assessment; explains the fundamental concepts for extracting features from 2D imagery and 3D point cloud data; proposes an original approach to keypoint-based point cloud registration; discusses the enrichment of 3D point clouds by additional information acquired with a thermal camera, and describes a new method for thermal 3D mapping; presents a novel framework for 3D scene analysis.

Digital Media, Projection Design, and Technology for Theatre covers the foundational skills, best practices, and real-world considerations of integrating digital media and projections into theatre. The authors, professional designers and university professors of digital media in live performance, provide readers with a narrative overview of the professional field, including current industry standards and expectations for digital media/projection design, its related technologies and techniques. The book offers a practical taxonomy of what digital media is and how we create meaning through its use on the theatrical stage. The book outlines the digital media/projection designer’s workflow into nine unique phases. From the very first steps of landing the job, to reading and analyzing the script and creating content, all the way through to opening night and archiving a design. Detailed analysis, tips, case studies, and best practices for crafting a practical schedule and budget, to rehearsing with digital media, working with actors and directors, to creating a unified design for the stage with lighting, set, sound, costumes, and props is discussed. The fundamentals of content creation, detailing the basic building blocks of creating and executing digital content within a design is offered in context of the most commonly used content creation methods, including: photography and still images, video, animation, real-time effects, generative art, data, and interactive digital media. Standard professional industry equipment, including media servers, projectors, projection surfaces, emissive displays, cameras, sensors, etc. is detailed. The book also offers a breakdown of all key related technical tasks, such as converging, warping, and blending projectors, to calculating surface brightness/luminance, screen size and throw distance, to using masks, warping content and projection mapping, making this a complete guide to digital media and projection design today. An eResource page offers sample assets and interviews that link to current and relevant work of leading projection designers.

This fascinating book contains the remarkable account of Sylvan Muldoor's out of body experience, scientifically edited by one of the world's foremost psychic researchers, Dr. Carrington. Including both the detailed account of Muldoor's experiences and instructions on the technique of projecting the astral body, this book is thoroughly recommended for inclusion on the bookshelf of anyone with an interest in the subject.

In 1957, a decade before Roland Barthes announced the death of the author, François Truffaut called for a new era in which films would “resemble the person who made” them and be “even more personal” than an autobiographical novel. More than five decades on, it seems that Barthes has won the argument when it comes to most film critics. The cinematic author, we are told, has been dead for a long time. Yet Linda Haverty Rugg contends not only that the art cinema auteur never died, but that the films of some of the most important auteurs are intensely, if complexly, related to the lives and self-images of their directors. Self-Projection explores how nondocumentary narrative art films create alternative forms of collaborative self-representation and selfhood. The book examines the work of celebrated directors who plant autobiographical traces in their films, including Truffaut, Bergman, Fellini, Tarkovsky, Herzog, Allen, Almodóvar, and von Trier. It is not simply that these directors, and many others like them, make autobiographical references or occasionally appear in their films, but that they tie their films to their life stories and communicate that link to their audiences. Projecting a new kind of selfhood, these directors encourage identifications between themselves and their work even as they disavow such connections. And because of the collaborative and technological nature of filmmaking, the director’s self-projection involves actors, audience, and the machines and institution of the cinema as well. Lively and accessible, Self-Projection sheds new light on the films of these iconic directors and on art cinema in general, ultimately showing how film can transform not only the autobiographical act but what it means to have a self.

Welcome to the proceedings of the 8th European Conference on Computer - sion! Following a very successful ECCV 2002, the response to our call for papers was almost equally strong – 555 papers were submitted. We accepted 41 papers for oral and 149 papers for poster presentation. Several innovations were introduced into the review process. First, the n- ber of program committee members was increased to reduce their review load. We managed to assign to program committee members no more than 12 papers. Second, we adopted a paper ranking system. Program committee members were asked to rank all the papers assigned to them, even those that were reviewed by additional reviewers. Third, we allowed authors to respond to the reviews consolidated in a discussion involving the area chair and the reviewers. Fourth, thereports,thereviews,andtheresponsesweremadeavailabletotheauthorsas well as to the program committee members. Our aim was to provide the authors with maximal feedback and to let the program committee members know how authors reacted to their reviews and how their reviews were or were not re?ected in the ?nal decision. Finally, we reduced the length of reviewed papers from 15 to 12 pages. ThepreparationofECCV2004wentsmoothlythankstothee?ortsofthe- ganizing committee, the area chairs, the program committee, and the reviewers. We are indebted to Anders Heyden, Mads Nielsen, and Henrik J. Nielsen for passing on ECCV traditions and to Dominique Asselineau from ENST/TSI who kindly provided his GestRFIA conference software. We thank Jan-Olof Eklundh and Andrew Zisserman for encouraging us to organize ECCV 2004 in Prague.