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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.
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.
High-quality images have an amazing power of attraction. Just add some stunning photos and graphics to your website or app and watch your user engagement and conversion numbers climb. It can be tricky, but with this practical guide, you’ll master the many facets of delivering high performance images on the internet—without adversely affecting site performance. You’ll learn the nuts and bolts of color theory, image formats, storage and management, operations delivery, browser and application behavior, the responsive web, and many other topics. Ideal for developers, this book also provides useful tips, tricks, and practical theory for processing and displaying powerful images that won’t slow down your online product. Explore digital image theory and the different formats available Dive into JPEGs, SVG and vector images, lossless compression, and other formats Use techniques for downloading and rendering images in a browser, and for loading images on mobile devices and cellular networks Examine specific rendering techniques, such as lazy loading, image processing, image consolidation, and responsive images Take responsive images to the next level by using content negotiation between browser and server with the Client Hints HTTP standard Learn how to operationalize your image workflow Contributors include Colin Bendell, Tim Kadlec, Yoav Weiss, Guy Podjarny, Nick Doyle, and Mike McCall from Akamai Technologies.
Writing in the early nineteenth century, the French traveler and cleric Abbé Huc exclaimed: "There is, perhaps, not a people in the world who carry so far their taste and passion for theatrical entertainments as the Chinese.” This taste and passion for the theater was not restricted to the stage, but permeated the visual and material world of everyday life from the village to the court. The visual spectacle of this theater is well known, displayed primarily through colorful costumes, props, and face painting. What is less known is the extent to which operatic characters and stories were favored as pictorial and decorative motifs across the full spectrum of visual mediums, from courtly scroll paintings, popular New Year prints, illustrated woodblock books and painted fans to carved utensils, ceramics, textiles, and dioramas.
An example method for segmenting an object contained in an image includes receiving an image including a plurality of pixels , transforming a plurality of characteristics of a pixel into respective neutrosophic set domains , calculating a neutrosophic similarity score for the pixel based on the respective neutrosophic set domains for the characteristics of the pixel , segmenting an object from background of the image using a region growing algorithm based on the neutrosophic similarity score for the pixel , and receiving a margin adjustment related to the object segmented from the background of the image .
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.
We seem to be living in hysterical times. A simple Google search reveals the sheer bottomless well of “hysterical” discussions on diverse topics such as the #metoo movement, Trumpianism, border wars, Brexit, transgender liberation, Black Lives Matter, COVID-19, and climate change, to name only a few. Against the backdrop of such recent deployments of hysteria in popular discourse––particularly as they emerge in times of material and hermeneutic crisis––Performing Hysteria re-engages the notion of “hysteria”. Performing Hysteria rigorously mines late 20th- and early 21st-century (primarily visual) culture for signs of hysteria. The various essays in this volume contribute to the multilayered and complex discussions that surround and foster this resurgent interest in hysteria––covering such areas as art, literature, theatre, film, television, dance; crossing such disciplines as cultural studies, political science, philosophy, history, media, disability, race and ethnicity, and gender studies; and analysing stereotypical images and representations of the hysteric in relation to cultural sciences and media studies. Of particular importance is the volume's insistence on taking the intersection of hysteria and performance seriously.
This three-book set constitutes the refereed proceedings of the Second International Conference on Recent Trends in Image Processing and Pattern Recognition (RTIP2R) 2018, held in Solapur, India, in December 2018. The 173 revised full papers presented were carefully reviewed and selected from 374 submissions. The papers are organized in topical sections in the tree volumes. Part I: computer vision and pattern recognition; machine learning and applications; and image processing. Part II: healthcare and medical imaging; biometrics and applications. Part III: document image analysis; image analysis in agriculture; and data mining, information retrieval and applications.
Cinema has long shaped not only how mass violence is perceived but also how it is performed. Today, when media coverage is central to the execution of terror campaigns and news anchormen serve as embedded journalists, a critical understanding of how the moving image is implicated in the imaginations and actions of perpetrators and survivors of violence is all the more urgent. If the cinematic image and mass violence are among the defining features of modernity, the former is significantly implicated in the latter, and the nature of this implication is the book's central focus. This book brings together a range of newly commissioned essays and interviews from the world's leading academics and documentary filmmakers, including Ben Anderson, Errol Morris, Harun Farocki, Rithy Phan, Avi Mograbi, Brian Winston, and Michael Chanan. Contributors explore such topics as the tension between remembrance and performance, the function of moving images in the execution of political violence, and nonfiction filmmaking methods that facilitate communities of survivors to respond to, recover, and redeem a history that sought to physically and symbolically annihilate them
Remote Sensing Image Fusion: A Practical Guide gives an introduction to remote sensing image fusion providing an overview on the sensors and applications. It describes data selection, application requirements and the choice of a suitable image fusion technique. It comprises a diverse selection of successful image fusion cases that are relevant to other users and other areas of interest around the world. The book helps newcomers to obtain a quick start into the practical value and benefits of multi-sensor image fusion. Experts will find this book useful to obtain an overview on the state of the art and understand current constraints that need to be solved in future research efforts. For industry professionals the book can be a great introduction and basis to understand multisensor remote sensing image exploitation and the development of commercialized image fusion software from a practical perspective. The book concludes with a chapter on current trends and future developments in remote sensing image fusion. Along with the book, RSIF website provides additional up-to-date information in the field.