...Visual Imagery Psych 640 March 17, 2014 Dr. Samantha Hickman Visual Imagery Imaginations allow individuals to use information and construct his or her own ideas. For example, individuals can imagine what his or her dream home looks like. This individual can see the home and describe what the home looks like. Anderson (2010) defined mental imagery as the processing of perceptual information without an external source. Visual imagery is the brain’s way of processing information as if the individual is actually seeing it; whereas, verbal imagery is the processing of information as if the individual is saying or describing the information. Visual and verbal imagery can use cognitive maps to make sense of his or her environment. A careful analysis of visual and verbal imagery allows an individual to draw conclusions about which form of imagery is important to them. Types of Imagery Visual Imagery Visual imagery is activated within the individual’s occipital cortex area (Fery, 2003). Motor actions require individuals to assess the size and shape of objects; thus, visual imagery provides the positions and movements associated with these tasks (Fery, 2003). Fery (2003) conducted an experiment in which individuals were shown a movement and were required to imagine the movement. The individuals were asked to draw the movement in which they had seen (Fery, 2003). The results confirmed visual imagery is appropriate when individuals are required to replicate a drawing (Fery, 2003)...
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...Visual Image of the Man on the Moon Paper # 2 A visual image is essentially visible wavelengths of light caught on camera through a lens during a specific moment in time, but the value of a visual image goes far beyond scientific explanation. These images are captured memories that allow us to recall, understand, and interpret that specific moment. These visuals may mean different things to different people, but the one thing most of these individuals have in common is that they are expecting truth from that image. Truth in this context can mean that the image embodies a certain quality or effect, represents evidence that an event took place, or that it sums up certain political and social values. One picture in particular whose truth has been frequently questioned is the iconic image of the first man on the moon. Ever since the day this image was taken of Neil Armstrong on July 20, 1969 people have been creating conspiracies and theories about the validity of the event. Some believe that NASA faked man actually being able to walk on the moon once they discovered they could not exit the spacecraft in safety, and others believe the entire event was staged. Since numerous undeniable rebuttals have been made against the hoax claims we can argue that the “truth” to this picture is that it stands as evidence that something took place. Apollo 11 was the name of the spaceflight that would land Buzz Aldrin and Neil Armstrong on the moon during the time of Richard Nixon’s Presidency...
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...Highway uses visual imagery, anaphora, and balanced phrases to dramatize Okimasis’s dog sled race. Visual imagery dramatized and emphasized the protagonist’s experience racing against dozens of competitors across the freezing tundra of northern Canada. As he drives through “the orange-rose-tinted dusk” Okimasis’s day speeds to an end, not beautiful but dreadful, not contemplative but anxious, not relaxed but tense and frightening. The scenery of a beautiful night fall only serves to remind Okimasis’s his chance to reap the reward of success rapidly approaches an end, the ignoble end or placing rather than winning. The lovely color of the sky emphasizes the driver’s need to concentrate on his task and not be distracted by extraneous sights,...
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...The divergence-based centroid neural network is employed in the grouping process. Prior to the grouping process, 3D line segments are extracted with the aid of the elevation information obtained by using area-based stereo matching of satellite image data. High-resolution IKONOS stereo images are utilized for the experiments. The experimental result proved the applicability and efficiency of the approach in dealing with 3D building modeling from high-resolution satellite imagery. Index Terms—building model, satellite image, 3D modeling, line segment, stereo I. I NTRODUCTION Extraction of 3D building model is one of the important problems in the generation of an urban model. The process aims to detect and describe the 3D rooftop model from complex scene of satellite imagery. The automated extraction of the 3D rooftop model can be considered as an essential process in dealing with 3D modeling in the urban area. There has been a significant body of research in 3D reconstruction from high-resolution satellite imagery. Even though a natural terrain can be successfully reconstructed in a precise manner by using correlation-based stereoscopic processing of satellite images [1], 3D building reconstruction remains to a difficult process, due to the discontinuity of elevation in manmade objects. In this context, most studies rely on 3D feature analysis. Perceptual grouping technique [2] has been broadly used for detecting and describing buildings in aerial or satellite image. This traditional...
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...I. Current Situation: A. Current Performance: International Satellite Images (ISI) had been building a satellite to image the world at a resolution of one meter. At the resolution, a trained photo interpreter could identify virtually any military and civilian vehicle as well as numerous other military and non-military objects. The ISI team had been preparing a proposal for a Japanese government contractor. The contract called for a commitment of a minimum imagery purchase of $10 million per year for five years. In a recent executive staff meeting it became clear that the ISI satellite camera subcontractor was having trouble with the development of a thermal stabilizer for the instrument. It appeared that the development delay would be at least one year and possibly 18 months. When Jim approached Fred Ballard, the President of ISI, for advice on what launch date to put into the proposal, Fred told Jim to use the published date since that was still the official launch date. II. External Environment: A. General Environment: For the problem ofISI satellite camera subcontractor it appeared development delay would be at least one year and possibly 18 months. For that reasonthe level of trust between the parties was very low since the Japanese insisted upon completion guarantees. External forces include: Industry practice is to publicize optimistic completion dates that are rarely met. The financial industry that has profitability expectations which may be impossible...
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...The Modern Film A majority of current movies on the market today most likely have one thing in common, Computer Generated Imagery, or CGI. Imagine how crude a movie would be without the use of computers and the quality they would posses if these technologies didn’t exist. From Star Wars to The Matrix and even a vast majority of all the more recent animated films such as Toy Story or Monster’s Inc have all used computers to enhance the experience of the movie. Movie goers have been enjoying the quality that these technologies have been adding to movies for years, maybe even longer than some might know of. It’s said that John Whitney, Sr. was the first to bring computer graphics to the film industry with his slit-scan technology creating the visually powerful “into the monolith” imagery of 2001: A Space Odyssey. Over the years computers would keep proving there worth in movies such as Tron, the film many people associate with the birth of Hollywood computer graphics. In 1985 Pixar produced what is said to be the first CGI character animation in film with the stained glass window come to life effect in the Young Sherlock Holmes. Disney, the maker of popular children’s movies of all kinds would later acquire Pixar and take animated movies from the classic sketched scenes of Cinderella and Bambi to the first full length CGI movie, Toy Story. Toy Story changed the way of viewing for animated movies making the characters seem more realistic and giving more detail to the worlds...
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...Make-up and other effects have turned into a vital piece of motion pictures. Sure, even movies that appear to have no effects for the on-screen characters will utilize computerized touching-up and hours of applying make-up to the performers to make them look the part they are playing. Regardless of what some people may say, conventional prosthetic make-up is still used very often in the entertainment industry. It is the most practical approach to include blood, scars, or essentially change the surface of the skin since it is a physical, impermanent modification to an actor. It is additionally still used to make huge or abnormal highlights that still leave the greater part of the face human unrecognizable, for example, Hellboy or Captain America's...
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...Kenneth Stokes Writing and Rhetoric 1 April 14th, 2013 CGI and Practical Effects in Film It’s hard to believe that the first real use of what we know as computer-generated imagery (CGI) took place in a feature film, Westworld, which was in 1973. But it would be another 20 years before Hollywood experienced a real revolution in special effects, when photorealistic dinosaurs rampaged though Jurassic Park, a Michael Crichton-inspired theme-park-gone-wrong movie. The concept of today’s level of 3D CGI animation is an evolution from basic cartoon animation into a simulated world that seeks to represent realism as accurately as possible. It does this by slicing up the world into the smallest segments possible, and then controlling how those tiny parts of the real world objects move, react and change based on the other objects and conditions within that 3D world (See fig. 1). The history of computer-generated imagery goes hand in hand with the history of the computer, as the computer evolved CGI effects got possible. For the origins of computer-generated imagery we need to go back to the year 1968. In this year a group of Russian mathematicians and physicists headed by N.Konstantinov created a mathematic model of a moving cat across a screen. A program was made for a specialized computer called BESM-4. The computer printed hundreds of frames to be later converted into usable film material. In the 1970′s CGI really got a hold in the designing community. With many people experimenting...
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...The Impact of Evolving Technologies Computer generated imagery has spanned the verge of acceptability. “CGI frequently plays an essential role in the creation of the believable alternate reality necessary for the enjoyment of a film” (Goodyer, 2012). The animation cartoon looks is replaced with subtle distinction of movement and expression. “Motion capture represents a wholly new form of filmmaking, one that cannot and should not be limited by our previously held definitions of synthetic versus recorded cinema” (Freedman, 2012). The once was a drawing, that was made into several to produce a cartoon seen in films, times have changed with technology, now it is becoming more realistic and believable to audiences. “But no matter how impressive the trappings used to surround the audience–all the tricks of lighting and make–up and acting and computer–generated imagery–the root of all movies is the story, and without it, nothing else matters. If a story works, if it engages the audiences for two hours, then there is no wrong way to tell it. If the story doesn’t work, then the opposite is true” (Goodykoontz & Jacobs, 2011). Avatar (2009), was an American Science Fiction film set in the 22-century. “Avatar cost somewhere between $250 million and $500 million to make, yet weeks after its release, it had already grossed more than $1 billion worldwide for the Twentieth Century–Fox Film Corporation” (Gray, 2010). While to create such a costly movies was a big risk for...
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...The Lighthouse Strategy is an interdisciplinary rehabilitation team method to enhance attention in visual hemi-spatial deficits. The strategy combines different aspects of cognitive-behavioral and visual imagery interventions to perform route-finding tasks and ADLs. A case study involving a 65-year-old woman (M.M.) following a right parietal hemorrhage confirmed short-term success of the Lighthouse Strategy. M.M. experienced left side weakness in both upper and lower extremities and left hemi-spatial inattention affecting her daily routine. During her first therapeutic treatment session she performed the Mesulam Verbal Cancellation Test, where she was instructed to circle or mark the letter A within a document of mixed letters. She missed...
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...The Architecture of the Mind and its Relationship to Sight Our minds are able to engage in an abundance of amazing tasks because of their complex structure. Depending on the architecture of ones brain, their mind is able to perform different functions. In Oliver Sacks’ essay “The Mind’s Eye” he discusses whether or not we can control our own minds. He relates this subject to various individuals’ experiences with blindness. Sacks explains in his essay that a person does not necessarily need to see in the retinal sense in order to use their sight. His ideas relate to those of Juhani Pallasmaa in his essay “The Eyes of the Skin,” in that Pallasmaa believes that sight has become a dominant sense and that we have repressed our other senses. Both authors discuss the ability that the senses posses and how the use and disuse of one of these sense can affect the others. Sight is also a major sense for both authors and they explore how the senses of vision relates to the use of other senses. In this essay I will show how that the “architecture of the mind” is nothing more than the structure of one’s mind and that sight is a major component of this structure, regardless of it being retinal or imaginative, and that when one sense is lost our minds restructure and strengthen the other senses. The mind shares many functions with architecture, such as the processes of observing, designing, constructing, selecting and supervising. The mind conducts these processes with our senses...
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...illusion of depth produced in graphic works by lightening values, softening details and textures, reducing value contrasts, and neutralizing colors in objects as they recede. 4. Balance - A sense of equilibrium achieved through implied weight, attention, or attraction, by manipulating the visual elements within an artwork. 5. Chromatic value - The relative degree of lightness or darkness demonstrated by a given color. 6. Collage - A technique of picture making in which real materials possessing actual textures are attached on the picture plane surface, often combining them with painted or drawn passages. 7. Concept -A comprehensive idea or generalization. An idea that brings diverse elements into a basic relationship. 8. Context - The location, information, or time frame that informs how a work of art is viewed and what it means. Works of art often respond to a particular space or cultural climate. If the context for a work of art is changed or re-contextualized, the way in which the work is understood may change as well. 9. Craftsmanship – Aptitude, skill, or quality workmanship in the use of tools and materials. 10. Dominance - The principle of visual organization that certain elements are more important than others in a particular composition or design. Some features are emphasized, and others are subordinated. 11. Economy - The...
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...course for both the general interest and art major student: a survey of the nature and role of the visual arts in society. Art theory, art practices and an overview of art history will be required. The Medias of art will also be explored. Field trips are required. This course will enable the student to understand the historical, social, and psychological factors involved in the creation of works of art through an analysis of the language, media, and rationale of visual communication. Prerequisites: None. Units: Three Required Text: Artforms, 11th Edition, Patrick Frank, Pearson Prentice/Hall, Upper Saddle River, New Jersey, 07458. Method of Presentation: Lectures with PowerPoint presentations and class discussion. Student Learning Outcomes: Art 100 – Introduction to Art Concepts is a survey course whose purpose is to develop the ability of students to see an art object or building on objective, perceptual, and interpretive levels. The student will learn the vocabulary of art; recognize the materials and techniques of art processes and learn to recognize the historical styles and changing tastes of the public and the art market. To evaluate the student outcomes, standards of achievement will be measured by exams, practice tests, class participation, museum reports and research papers. This will identify how successfully each student processes the visual images and the meanings that they contain. Specific areas of student development will be: ...
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...profile. Following program chairs’ agreement, the material will go to the full faculty for discussion and vote. I will also gather input from Student Affairs so that we understand their contribution to the success of our students. Readings about assessment and what it is are attached.* As I mentioned earlier, we will be working our way through this process together, and developing our assessment program in relationship to the goals and values unique (and/or integral) to this institution. Additional readings are on reserve in the library, and an enormous amount of information is available on the web. *Distributed at the Program Chairs meeting on 9.9.2008 MISSION Maine College of Art delivers a demanding and enlivening education in visual art and design within an intimate learning community. We teach each student how to transform aspirations and values into a creative practice that serves as the foundation for a lifelong pursuit of personal and professional goals. VALUES o Maine College of Art’s educational philosophy is built on the premise that focused individual attention and meaningful collective inquiry produce the conditions in which students’ voices can find strength, clarity, and purpose. o Our faculty of practicing professional artists, designers, writers, and scholars are committed and passionate educators who consider their classrooms to be extensions of their creative work. o We give our students the tools they need to take risks, think critically and...
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...were consistent with experiment one. Motion deficits were most pronounced at slow speeds. The evidence presents typical development of motion-defined from perception depends on speed, slower speeds showed deficits in all participants. Dobrez, L. (2013). The perception of depicted motion. Arts, 2(4). 383 – 446. Doi: http://dx.doi.org/10.3390/arts2040383. In this article, the concept of depicted motion in still imagery is discussed. We may look at a photograph and, even though the subjects in the photo are not moving, we can perceive motion occurring based on what the photo shows. Some examples of depicted motion given in the article are images of a horse galloping and the falling man image used for wet floor signs. Nothing in these images are actually moving when we view them, but based on the position of the horse’s legs or the angle in which the man is positioned, you can perceive these subjects as being in motion when the image was taken. Hidaka, S., Termoto, W., Sugita, Y., Manaka, Y., Sakamoto, S., & Suzuki, Y. (2011). Auditory motion information drives visual motion...
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