Image Morphing

As the digital landscape continues to evolve, women face escalating threats in the form of cybercrimes within Indian social media platforms. This paper explores the multifaceted challenges encountered by women in the digital realm and proposes empowering strategies to combat cybercrimes effectively. The study delves into the prevalence of online threats, including cyberbullying, stalking, identity theft, and harassment, targeting women specifically. Recognizing the vital role of social media in women's lives, the paper emphasizes the need for tailored combat strategies. The proposed strategies encompass digital literacy initiatives, enhanced cybersecurity measures, legal frameworks, and community support networks. By empowering women with knowledge and resources, this paper aims to contribute to the creation of a safer and more inclusive digital environment for women in India.

The aim of the current research was to explore whether we can improve the recognition of cross-cultural freely expressed emotional faces in British participants. We tested several methods for improving the recognition of freely expressed emotional faces, such as different methods for presenting other-culture expressions of emotion from individuals from Chile, New Zealand and Singapore in two experimental stages. In the first experimental stage, in phase one, participants were asked to identify the emotion of cross-cultural freely-expressed faces. In the second phase, different cohorts were presented with interactive side-by-side, back-to-back and dynamic morphing of cross cultural freely-expressed emotional faces, and control conditions. In the final phase, we repeated phase one using novel stimuli. We found that all non-control conditions led to recognition improvements. Morphing was the most effective condition for improving the recognition of cross cultural emotional faces. In th...

In this paper, the mesh morphing technique is used to show the transformation of one digital image into another. First, mesh morphing is implemented in Matlab using its inbuilt functions as Delaunay triangulation etc.. Then its performance was evaluated on number of tooth images with caries to show visually the different stages of treatment. The work will help the patient to understand how the treatment will be done and how the tooth will look like after the treatment.

The aim of the current research was to explore whether we can improve the recognition of cross-cultural freely expressed emotional faces in British participants. We tested several methods for improving the recognition of freely expressed emotional faces, such as different methods for presenting other-culture expressions of emotion from individuals from Chile, New Zealand and Singapore in two experimental stages. In the first experimental stage, in phase one, participants were asked to identify the emotion of cross-cultural freely-expressed faces. In the second phase, different cohorts were presented with interactive side-by-side, back-to-back and dynamic morphing of cross cultural freely-expressed emotional faces, and control conditions. In the final phase, we repeated phase one using novel stimuli. We found that all non-control conditions led to recognition improvements. Morphing was the most effective condition for improving the recognition of cross cultural emotional faces. In th...

The aim of the current research was to explore whether we can improve the recognition of cross-cultural freely expressed emotional faces in British participants. We tested several methods for improving the recognition of freely expressed emotional faces, such as different methods for presenting other-culture expressions of emotion from individuals from Chile, New Zealand and Singapore in two experimental stages. In the first experimental stage, in phase one, participants were asked to identify the emotion of cross-cultural freely-expressed faces. In the second phase, different cohorts were presented with interactive side-by-side, back-to-back and dynamic morphing of cross cultural freely-expressed emotional faces, and control conditions. In the final phase, we repeated phase one using novel stimuli. We found that all non-control conditions led to recognition improvements. Morphing was the most effective condition for improving the recognition of cross cultural emotional faces. In th...

Have you ever wondered about how the 3D representations of the moon are created? Or how images from different sources-especially satellites-are combined to form uniform and cohesive images? Or even how the gradual process of a person aging can be depicted from just two images? Such are the questions that can be answered as a result of an in depth analysis of warping and morphing techniques and the mathematics and applications behind them. In definition, warps and morphs are computer animation techniques that depict the distortion, manipulation, or transformation of images. To be more specific, a warp is a twist in the form or shape of an image. An example of this is distorting the image of a chicken by elongating its legs. Warping two complementary objects by forcing them to blend and assume the form of one another results in a morph-which is the smooth and gradual transformation of the image of one object into that of another. An example of a morph is transforming the image of a chicken into the image of a dinosaur. One of the biggest differences between a warp and a morph is that while a warp only requires one picture, a morph requires at least two pictures-to create longer and more complicated morphs, more images are necessary. The mathematics behind these computer animation techniques will be discussed later in the research, however, it is important to note that the process of a warp or morph is purely dependent on linear algebra. In essence, a morph is two warps happening at the same time, in a synchronized fashion. The beginning image is warped with respect to the end image and vice versa. An example showing the mechanics of a morph is shown below: Both images are manipulated so that each is warped in the direction of the other. As the objects in the images assume a different form, they are overlapped and their color densities are averaged in accordance to the time. The example shown above follows the morphing process of a bird as it transforms into a prairie dog. The red shaded area in the second image indicates the change in its shape that the bird had to undergo in order to morph into the prairie dog. A similar process is happening in the opposite direction; the prairie dog's form is altered so that it assumes the shape of the bird. While this shape transformation is happening, the color densities of corresponding pixel are averaged in a specific way. For example, assuming the morph happens within the time frame of t=0 and t=1, at t=0.25, the color density of the first picture would account for three-fourths of the colors in that specific frame, while the color density of the second picture would only account for one-fourth of the color in the frame. The color densities of the rest of the frames in the morph would be calculated in the same way. The processes of warps and morphs can be instigated by using specially-designed computer software. The method that is used to create the specific warps and morphs described above entails a linear process in which the rates at which the objects in the images change are constant. The mathematics and applications behind warps and morphs reinstate how incredibly useful they can be.

The aim of the current research was to explore whether we can improve the recognition of cross-cultural freely expressed emotional faces in British participants. We tested several methods for improving the recognition of freely expressed emotional faces, such as different methods for presenting other-culture expressions of emotion from individuals from Chile, New Zealand and Singapore in two experimental stages. In the first experimental stage, in phase one, participants were asked to identify the emotion of cross-cultural freely-expressed faces. In the second phase, different cohorts were presented with interactive side-by-side, back-to-back and dynamic morphing of cross cultural freely-expressed emotional faces, and control conditions. In the final phase, we repeated phase one using novel stimuli. We found that all non-control conditions led to recognition improvements. Morphing was the most effective condition for improving the recognition of cross cultural emotional faces. In th...

In this paper, we introduce a new texture metamorphosis approach for interpolating texture samples from a source texture into a target texture. We use a new energy optimization scheme derived from optimal control principles which exploits the structure of the metamorphosis optimality conditions. Our approach considers the change in pixel position and pixel appearance in a single framework. In contrast to previous techniques that compute a global warping based on feature masks of textures, our approach allows to transform one texture into another by considering both intensity values and structural features of textures simultaneously. We demonstrate the usefulness of our approach for different textures, such as stochastic, semi-structural and regular textures, with different levels of complexities. Our method produces visually appealing transformation sequences with no user interaction.

The aim of the current research was to explore whether we can improve the recognition of cross-cultural freely expressed emotional faces in British participants. We tested several methods for improving the recognition of freely expressed emotional faces, such as different methods for presenting other-culture expressions of emotion from individuals from Chile, New Zealand and Singapore in two experimental stages. In the first experimental stage, in phase one, participants were asked to identify the emotion of cross-cultural freely-expressed faces. In the second phase, different cohorts were presented with interactive side-by-side, back-to-back and dynamic morphing of cross cultural freely-expressed emotional faces, and control conditions. In the final phase, we repeated phase one using novel stimuli. We found that all non-control conditions led to recognition improvements. Morphing was the most effective condition for improving the recognition of cross cultural emotional faces. In th...

With many visual speech animation techniques now available, there is a clear need for systematic perceptual evaluation schemes. We describe here our scheme and its application to a new video-realistic (potentially indistinguishable from real recorded video) visual-speech animation system, called Mary 101. Two types of experiments were performed: a) distinguishing visually between real and synthetic imagesequences of the same utterances, ("Turing tests") and b) gauging visual speech recognition by comparing lipreading performance of the real and synthetic image-sequences of the same utterances ("Intelligibility tests"). Subjects that were presented randomly with either real or synthetic image-sequences could not tell the synthetic from the real sequences above chance level. The same subjects when asked to lipread the utterances from the same image-sequences recognized speech from real image-sequences significantly better than from synthetic ones. However, performance for both, real and synthetic, were at levels suggested in the literature on lipreading. We conclude from the two experiments that the animation of Mary 101 is adequate for providing a percept of a talking head. However, additional effort is required to improve the animation for lipreading purposes like rehabilitation and language learning. In addition, these two tasks could be considered as explicit and implicit perceptual discrimination tasks. In the explicit task (a), each stimulus is classified directly as a synthetic or real image-sequence by detecting a possible difference between the synthetic and the real image-sequences. The implicit perceptual discrimination task (b) consists of a comparison between visual recognition of speech of real and synthetic image-sequences. Our results suggest that implicit perceptual discrimination is a more sensitive method for discrimination between synthetic and real image-sequences than explicit perceptual discrimination.

The aim of the current research was to explore whether we can improve the recognition of cross-cultural freely expressed emotional faces in British participants. We tested several methods for improving the recognition of freely expressed emotional faces, such as different methods for presenting other-culture expressions of emotion from individuals from Chile, New Zealand and Singapore in two experimental stages. In the first experimental stage, in phase one, participants were asked to identify the emotion of cross-cultural freely-expressed faces. In the second phase, different cohorts were presented with interactive side-by-side, back-to-back and dynamic morphing of cross cultural freely-expressed emotional faces, and control conditions. In the final phase, we repeated phase one using novel stimuli. We found that all non-control conditions led to recognition improvements. Morphing was the most effective condition for improving the recognition of cross cultural emotional faces. In the second experimental stage, we presented morphing to different cohorts including own to-other and other-to-own freely-expressed cross-cultural emotional faces and neutral-to-emotional and emotional to-neutral other-culture freely-expressed emotional faces. All conditions led to recognition improvements and the presentation of freely-expressed own-to-other cultural emotional faces provided the most effective learning. These findings suggest that training can improve the recognition of cross-cultural freely-expressed emotional expressions.

Given the double consciousness it stimulates, the principle of morphing arguably provides a platform to reflect on matters of authenticity in the digital age due to its dramatization of metaphysics in process. This is especially the case with the collaboration between choreographer Frédéric Flamand and the architects Diller + Scofidio on Moving Target (1996), an encounter between physical bodies and a techno-architectonic stage environment where performers morphed 'live' on stage.

El proyecto de mediación “Lo que es mirado te mira” (2014), realizado durante la jornada de puertas abiertas del Museo de Bellas Artes de Granada con motivo del Día de los Museos, toma como eje didáctico la cuestión referencial en el arte para diseñar una acción educativa, basada en técnicas de video-morphing, en torno a dos pinturas anónimas del siglo XV con las que interactuarán los visitantes.

El objetivo primordial del proyecto “Tote Hasen (Liebre Muerta): Cómo explicar las obras de una exposición a una liebre muerta” es el de profundizar desde una metodología basada en las artes desde una perspectiva A/R/Tográfica, en la generación de programas y experiencias educativas en contextos museísticos, en el que la interacción entre visitante y objeto artístico promueva originales procesos de recepción y comprensión, cuyo resultado sea el de un nuevo conocimiento concebido por los espectadores, sobre los contenidos de dichos espacios y sus obras, ubicándonos ante un tipo de construcción cultural fundamentada en la experiencia personal, el juego con la propia identidad, la referencialidad en el Arte y la creación colectiva.

Image metamorphosis or morphing for short, is commonly referred to as the animated transformation of one digital image to the other. Image morphing finds numerous applications in many fields including computer vision, animation, art and medical image processing. Morphing involves the image processing techniques of cross-fading and warping to morph one image into a completely different image. Morphing software allows a step by step transformation from one image into another. The most difficult one is wraping of one image into another image. It is the starching and pulling of the images, that makes morphing effects so realistic.

A nested image is a form of artistic expression in which one or more secondary figures are embedded within a primary figure, perhaps recursively. Contours of the primary figure are used to contain a sec-ondary figure; the effect has a particularly interesting artistic effect if parts of the secondary figure have a corresponding shape to inner holes of the primary figure. Here, we present a system for creating such images. Our system detects the enclosed outer contour of the figure to be nested, and then finds a place in the outer figure to embed it, together with a suitable transformation for doing so, by optimizing an energy based on the distance between the contours. We also allow small changes of shape, which can help to match contours. Morphing is done iteratively, warping the corresponding contours of the secondary figure and the holes of the primary figure to appropriate positions. We show various nested images generated by our system.

With many visual speech animation techniques now available, there is a clear need for systematic perceptual evaluation schemes. We describe here our scheme and its application to a new video-realistic (potentially indistinguishable from real recorded video) visual-speech animation system, called Mary 101. Two types of experiments were performed: a) distinguishing visually between real and synthetic imagesequences of the same utterances, ("Turing tests") and b) gauging visual speech recognition by comparing lipreading performance of the real and synthetic image-sequences of the same utterances ("Intelligibility tests"). Subjects that were presented randomly with either real or synthetic image-sequences could not tell the synthetic from the real sequences above chance level. The same subjects when asked to lipread the utterances from the same image-sequences recognized speech from real image-sequences significantly better than from synthetic ones. However, performance for both, real and synthetic, were at levels suggested in the literature on lipreading. We conclude from the two experiments that the animation of Mary 101 is adequate for providing a percept of a talking head. However, additional effort is required to improve the animation for lipreading purposes like rehabilitation and language learning. In addition, these two tasks could be considered as explicit and implicit perceptual discrimination tasks. In the explicit task (a), each stimulus is classified directly as a synthetic or real image-sequence by detecting a possible difference between the synthetic and the real image-sequences. The implicit perceptual discrimination task (b) consists of a comparison between visual recognition of speech of real and synthetic image-sequences. Our results suggest that implicit perceptual discrimination is a more sensitive method for discrimination between synthetic and real image-sequences than explicit perceptual discrimination.

The architect- draughtsman uses a theoretical–graphic code whose foundations - of obvious Platonic lineage - attempt to organize and make sense to the reality. Perhaps the most powerful tool that he has in his hands to translate the existing world in a dense and polysemous model and to envisage the future one, in a compelling and creative way, becomes from descriptive geometry. Today, the context in which the architect works is violently changed and the "geometry", in the digital image, seems to have lost memory of its projective origins. Two loci - one related to the stonecutting's tradition, the other to the experiences of contemporary art - seem to be able to bring out in a renewed way, "the figures of the demonstration" associated with descriptive geometry.

»I can take any empty space and call it a bare stage. A man walks across this empty space whilst someone else is watching him, and this is all that is needed for an act of theatre to be engaged.« Let us take a brief look at these famous opening lines of Peter Brook's The empty space (1968). The implicit image evoked here is that of someone looking at another presented as the distinctive feature of theatre. Looking at the actor is the way one usually ›enters‹ a performance. However, when the actor on stage is filmed by a video camera and this video image is at the same moment projected on a screen, the actor is no longer the only focal point. Live video interferes with the live presence of the actor on stage. The spectator is offered a multi-perspective view. This article explores the intermedial relationship between an actor, live video and the spectator, and will address the question of whether a ›character‹ is still an adequate concept when analysing these relationships.

Image morphing has been the subject of much attention in recent years. It has proven to be a powerful visual effects tool in film and television, depicting the fluid transformation of one digital image into another. This paper reviews the growth of this field and describes recent advances in image morphing in terms of three areas: feature specification, warp generation methods, and transition control. These areas relate to the ease of use and quality of results. We will describe the role of radial basis functions, thin plate splines, energy minimization, and multilevel free-form deformations in advancing the state-of-the-art in image morphing. A comparison of various techniques for morphing one digital image in to another is made. We will compare various morphing techniques such as Feature based image morphing, Mesh and Thin Plate Splines based image morphing based on different attributes such as Computational Time, Visual Quality of Morphs obtained and Complexity involved in Selection of features. We will demonstrate the pros and cons of various techniques so as to allow the user to make an informed decision to suit his particular needs. Recent work on a generalized framework for morphing among multiple images will be described.

The Cambridge Dictionary defines the verb to morph as "to gradually change, or change someone or something, from one thing to another". According to the German Duden dictionary, morphing is a process associated with a computer programme that changes an image smoothly – in a perceptible manner without abrupt transitions – in such a way that a completely new image is created. This technique is used in imaging processes in the natural sciences and medicine, but above all in gaming and art – and also in the disciplines of video and dance, and their media transformations. Although morphing is perceived as fluid, Ann Rigney describes its functions with
metaphors that imagine certain culmination points: Relay Stations, Stabilizers, Catalysts, Calibrators. Moreover, morphing is post-anthropomorphic and transsexual. The field of investigation focused on in the following will be the points of contact or intersection between
dance and video. There is no intention to intervene in theoretical debates about 'medialisation'; instead, the respective artistic practices of Jacolby Satterwhite and Hito Steyerl will be examined as examples.

In this paper, the mesh morphing technique is used to show the transformation of one digital image into another. First, mesh morphing is implemented in Matlab using its inbuilt functions as Delaunay triangulation etc.. Then its performance was evaluated on number of tooth images with caries to show visually the different stages of treatment. The work will help the patient to understand how the treatment will be done and how the tooth will look like after the treatment.

thank Jeroen Sondervan, the series editor, for commissioning this volume and Chantal Nicolaes and the production team at AUP for realising the publication so efficiently. We also thank Emmy Kattenbelt for her work on constructing the index and Miguel Escobar for designing the diagrams of the nodes. Last but not least we thank the contributors for their willingness to engage in many dialogues and to adjust their writings to the purposes of the book in what, for us, has been a gratifying, because genuinely interactive, process.

A nested image is a form of artistic expression in which one or more secondary figures are embedded within a primary figure one by one. Contours of the primary figure, especially the contours of its inner holes, are used to portray a secondary figure. The secondary figure is totally inside the primary figure, and it would use some inner holes of primary figure as part of itself, which would produce an artistic effect. Here, we present a system for creating such images. It relies on the experience of human perception to minimize the difference between embedded inner figure and primary outer figure. Our system detects the enclosed outer contour of the figure to be nested, and then finds a place in the outer figure to embed it, together with a suitable transformation for doing so, by optimizing an energy based on the distance of contours. Morphing is done by an iterative approach, which warps the corresponding contours of the inner figure and the holes of the outer figure to an appropr...

This research investigated the problems and solutions to cyberspace identity theft. Collections of literature were reviewed to identify the issues and solutions to cyberspace identity theft. A survey was administered to a focus group of students who participated in an advanced summer scientific project, to ascertain the awareness of cyberspace identity theft by high school students.

Gradual transformation from one graphical object or image (source) to another graphical object or image (target) is called morphing. It is useful for creating special effects in animation. This technology is very popular in film and advertisement industries. The idea is distorting the first image into the second one and possible to vice versa. The middle image is a key point of this technology that is neither first image nor second image. If it looks good then probably the entire animated sequence will look good. Complete overview and all of the challenges of this technology is needed to all researchers to work with it. This paper describes an overview and challenges of almost all morphing algorithms that is used in computer animation. Cross-dissolving is one of the problems in morphing technology.

This paper reports on an intermedial pedagogy informed by Jacques Rancière's Ignorant Schoolmaster (1991). Two case studies interrogate the creative application of notions found in intermedial practice, hypersurface and palimpsest, discussing student agency as rigorous, innovative and research-led. The emerging status of pedagogy in higher education calls for 'teaching...to be identified with research activities in some direct way' (D' Andrea and Gosling 2005, 154). Through a descriptive analysis of two case studies I will show how my own intermedial research activity informs the teaching and learning on the BA Performing Arts (Film, TV and Stage) programme at Bucks New University.

The right to internet usage has now become a human right, as declared by the United Nations Human Rights Council in June 2016. Violence against women and girls knows no boundaries, cutting across borders, race, culture and income groups, profoundly harming victims, people around them, and society as a whole. The Cyber Era has produced internet technology and brought a new phenomenon in the area of mass media which also spawned new media that is commonly called social media. Readers might broadly agree that society's failure to address gender-based violence and crimes is symptomatic of a wider social failure to respect and honor each other regardless of sex, age, creed or race. "Culture is the sphere where we socialize ourselves-and the Internet-global in its reach, is a dimension of that sphere". The main aim of this research paper is to make users aware about cyber crimes like stalking, morphing, pornography specially the women. Work in this paper is towards Delhi Women (i.e., victims of cyber crime) and case laws are specially focused on women victimization of crime. Ms.Prerna Pratham Singh, a final year M.A.(Political Sc.) Delhi University student, posted the screenshot (May, 2015), on her Facebook page, of a lewd and abusive message posted to her by accused Raushan Kumar. With this screenshot, she posted a message too-which sent a straight message to not only the accused but to his alikes too. Within hours after Prerna posted this message on her timeline, the accused tried to escape the situation by declaring that his Facebook account has been hacked and has been used by somebody else to send offensive messages. Although Prerna took a brave step to teach lesson to the culprit, but does every women have this much courage to fight against "Cyber Crime".

Nuestra monografía la hemos planteado para informar y dar a conocer nuestro trabajo de investigación, por tal, motivo lo dedicamos a nuestros Padres; a quienes les debemos todo lo que tenemos en esta vida, haciendo posible nuestros anhelos y sueños.

1. Generalidades: Un objeto o figura cualquiera en el espacio y referidas a los planos horizontal y frontal de proyección, no siempre puede aparecer en su verdadera magnitud o en una de las formas que nosotros quisiéramos que fuesen presentadas a nuestra vista para su estudio. Por lo tanto, para lograr que un objeto se halle en posición favorable o conveniente existen en forma general dos procedimientos: a. Cambio de Posición del Observador, manteniendo fijo, el objeto, de manera que se puede lograr una posición favorable al observar la figura; b. Cambio de Posición del Objeto, manteniendo fija la posición del observador hasta lograr la posición deseada. Evidentemente estos procedimientos, no pueden ser ejecutados en forma arbitraria, sino para ser factible el estudio de estas posiciones, existen reglas determinadas y normas que la reglan, y es esto lo que determina los siguientes métodos: 1-a: Objeto fijo y Observador variable: Cambio de Planos. 1-b: Objeto variable y Observador fijo: Método de Giros.

The study herein described is aimed at investigating the feasibility of an innovative full-scale camber morphing aileron device. In the framework of the "Adaptive Aileron" project, an international cooperation between Italy and Canada, this goal was carried out with the integration of different morphing concepts in a wing-Tip prototype. As widely demonstrated in recent European projects such as Clean Sky JTI and SARISTU, wing trailing edge morphing may lead to significant drag reduction (up to 6%) in off-design flight points by adapting chord-wise camber variations in cruise to compensate A/C weight reduction following fuel consumption. Those researches focused on the flap region as the most immediate solution to implement structural adaptations. However, there is also a growing interest in extending morphing functionalities to the aileron region preserving its main functionality in controlling aircraft directional stability. In fact, the external region of the wing seems to be the most effective in producing "lift over drag" improvements by morphing. Thus, the objective of the presented research is to achieve a certain drag reduction in off-design flight points by adapting wing shape and lift distribution following static deflections. In perspective, the developed device could also be used as a load alleviation system to reduce gust effects, augmenting its frequency bandwidth. In this paper, the preliminary design of the adaptive aileron is first presented, assessed on the base of the external aerodynamic loads. The primary structure is made of 5 segmented ribs, distributed along 4 bays, each splitted into three consecutive parts, connected with spanwise stringers. The aileron shape modification is then implemented by means of an actuation system, based on a classical quick-return mechanism, opportunely suited for the presented application. Finite element analyses were assessed for properly sizing the load-bearing structure and actuation systems and for characterizing their dynamic behavior. Obtained results are reported and widely discussed. © COPYRIGHT SPIE. Downloading of the abstract is permitted for personal use only.

La prospettiva, oggi, si presenta come un metodo di rappresentazione diretto e autonomo, evoluto nei secoli grazie alle varie applicazioni in ambito artistico e tecnico e all'estesa ricerca teorica condotta dai matematici. Questa evoluzione è stata ampiamente documentata
nel corso della storia, suscitando il vivo interesse di storici dell’arte e studiosi di rappresentazione grafica; la letteratura sul tema, com'è noto, è vastissima, ma ciò che stupisce è la mancanza di scritti sulla più recente evoluzione di questo antico e secolare metodo di rappresentazione: anche i celebri testi di Luigi Vagnetti, Decio Gioseffi e Marisa Dalai Emiliani si fermano alla prospettiva del XVIII secolo. A darci informazioni preziose sulla prospettiva del secolo successivo è Noël Germinal Poudra il quale, nel testo "Histoire de la perspective ancienne et moderne, contenant l’analyse d’un très-grand nombre d’ouvrages sur la perspective et la description des procédés divers qu’on y trouve" pubblicato a Parigi nel 1864, racconta la storia della prospettiva componendo un repertorio commentato dei testi sul tema, da Euclide ai suoi giorni, che si conclude con una sua pubblicazione e che si è rivelato prezioso e illuminante per lo sviluppo della ricerca che qui si presenta.
Come interpretare questo silenzio sulla storia della prospettiva relativa agli ultimi centocinquant’anni? La prospettiva che conosciamo e pratichiamo oggi è la stessa di allora? Ha mantenuto i medesimi presupposti e finalità? Pensando agli attuali metodi di rappresentazione
digitale, non si potrà certo negare che un cambiamento importate sia avvenuto in tal senso – come vedremo in seguito –, ma non si tratta solo di un semplice, se pur fondamentale, potenziamento degli strumenti che abbiamo a disposizione: come si può notare consultando i testi sul tema pubblicati negli ultimi centocinquant’anni, la prospettiva, condotta con gli strumenti tradizionali, è profondamente cambiata, nell'impostazione e soluzione dei problemi grafici e metrici, nel lessico e nelle applicazioni, diventando il metodo diretto di rappresentazione che noi oggi conosciamo.
Come vedremo, sino a tutta la prima metà del Novecento, la prospettiva viene studiata e considerata in due ambiti diversi, quello artistico e quello scientifico, cosa che ha portato nel tempo alla distinzione tra prospettiva pratica da una parte, cui appartengono i procedimenti indiretti, e il metodo della proiezione centrale, che studia invece i principi teorici alla base del fenomeno prospettico.
La varietà di procedimenti esistenti e la separazione tra questi due modi di intendere la prospettiva rende difficile una visione unitaria e chiara del metodo ad essa relativo: spesso, ancora oggi si confondono, equivocando, metodo e procedimenti, i quali vengono talvolta erroneamente considerati come metodi autonomi, disgiungendo, nella pratica, il procedimento dal principio proiettivo insito. Non è raro infatti, consultando
i più recenti manuali che si occupano di prospettiva, che la soluzione dei problemi grafici e metrici venga ridotta, ad esempio, al metodo dei punti di distanza, che non è che un semplice procedimento risolutivo, immagine dei principi in esso insiti; talvolta, inoltre, espressioni quali prospettiva a uno/due/tre punti di fuga vengono impropriamente introdotte per distinguere i diversi modelli prospettici, rispettivamente centrale, accidentale, razionale, termini più o meno appropriati introdotti nel corso della storia per descrivere il rapporto tra l’osservatore, il quadro e la scena da rappresentare.
Obiettivo della ricerca che qui si presenta è la descrizione del percorso che la disciplina ha seguito per giungere alla sua attuale conformazione, documentando le fasi del suo sviluppo, chiarendo il rapporto fra metodo e procedimenti e focalizzando l’attenzione sugli aspetti fondamentali, quali: presupposti del metodo e impostazioni preliminari (relazione osservatore, quadro, oggetto), descrizione delle entità che intervengono nel processo sintetico di rappresentazione, individuazione e definizione delle proprietà e delle relazioni fondamentali, identificazione di procedimenti – diretti e indiretti – per la soluzione dei problemi grafici e metrici, utilizzo di espedienti grafici e, infine, relazione con gli altri metodo di rappresentazione.

The architect- draughtsman uses a theoreticalgraphic
code whose foundations - of obvious
Platonic lineage - attempt to organize and make
sense to the reality. Perhaps the most powerful
tool that he has in his hands to translate the existing
world in a dense and polysemous model
and to envisage the future one, in a compelling
and creative way, becomes from descriptive geometry.
Today, the context in which the architect
works is violently changed and the “geometry”, in
the digital image, seems to have lost memory of
its projective origins. Two loci - one related to the
stonecutting’s tradition, the other to the experiences
of contemporary art - seem to be able to
bring out in a renewed way, “the figures of the
demonstration” associated with descriptive geometry.

In most cases, the power of images is ultimately nothing else but the power of the evidence. In other words, historical and religious image are powerful because of their ability to evoke and testify. On the contrary, infographics, as scientific and technological images in general, could be seen not as representations of world’s objects, denotating, as Goodman could say, the world, but objects in themselves. That is, in information design and data visualization images are powerful because they create their objects, by defining, planning, and shaping data in a way that adds to the knowledge of the person receiving it. In this process, a diagram is an engine that makes the complex — accessible, and the invisible — visible. And the surface of such a visualization has to be considered an essential part of the data discourse. But how we could analyse and explain the process that brings the information design to the data to their visualisation in form of visual stories? How we could describe this process, that seems to be eminently semiotic, from a semiotic point of view? Which kind of narrative practices are involved in? The aim of this paper is to try to explain the efficacy of such “visual explanations” (Tufte) in building arguments and meanings, by analysing the way in which two data visualizations, mixing words, numbers and visual patterns, could mean what they mean, collecting data in new objects, telling stories with visual information. We will focus, in particular, on the notion of diagram in Goodman, Peirce and Netz, and on the notion of scientific object as a construct in Bastide and Latour.

Pioneering scenographer Adolphe Appia once stated that “The art of stage production is the art of projecting into space what the original author was only able to project in time.” Encapsulating the entire technical dimension of a theatre production, the notion of ‘scenography’ could arguably be placed on equal footing with the dramatic text as object of analysis and stepping stone for further conceptualization. Especially when adopting a historiographical posture, as it entails the entanglement of human beings with technological devices while foregrounding history’s own essentially mediated character.
In more concrete terms, addressing the process of writing history arguably yields insight into the various signifying systems and methods that bring it into being. Tackling signification from the angle of theatre scenography, consequently, reveals the act of ‘meaning making’ in its broadest sense as an immanent, collective entanglement of material enunciations that operate on, shape, and transform the world in real time. The proposed perspective thus provides a platform to reflect upon the principle of a ‘permanent present’ by dramatizing a ‘process-metaphysics.’
As a “prototype of imagination” on behalf of its hypermedial capacity to integrate a boundless array of other media, theatre to Derrick De Kerckhove represents a rare “try-out space for new experiences and reflexions.” It is in this capacity, consequently, that the pairing of architectural innovators Diller+Scofidio with NYC-based theatre troupe The Builders Association conceived of Jet Lag (1998), an “adventurous cross-media performance” (Wehle, 2002) combining live action, live and recorded video, computer animation, music, and dramatic text with two historical characters. The first of these faked his progress in an around-the-world sailing voyage before committing suicide after realizing he was drifting in circles, while the second flew across the Atlantic 167 times in a period of six months and ultimately likewise collapsed from travelling in a permanent present.

As ‘a maddeningly elastic phenomenon’ (Kraidy), hybridity presents cultural distinctions as porous – especially since it denotes a dynamic process over a static state. Consequently, addressing hybridity in conjunction with live performance foregrounds the associative character of consciousness. For theatre is uniquely suited to generate authenticity through ‘the happening of the interface’ (Giannachi) – i.e. by staging its hypermediacy to highlight its hybridizing potential. Almost as schizophrenic, the principle of morphing then provides another platform to reflect on matters of authenticity in the digital age due to its ‘uncanny dramatization of a process metaphysics’ (Sobchack). Especially when considering the collaboration between choreographer Frédéric Flamand with architects Diller+Scofidio on Moving Target (1996), an encounter between physical bodies and a techno-architectonic stage environment where performers morphed ‘live’ on stage.

The early animated image under industrial production was intrinsically antirealist in nature and was informed by the dialectics of class conflict. It was the result of the exploited labouring body working alongside the repressed erotogenic body within the industrial process of cinema animation. This was done under the logic of just exchange and wage labour. The dialectics of class conflicts manifests in early animation as the dialectics of morphing in the freedom of creative expression of the subject. Morphing not only talks of ideological freedom but also acts as the harbinger of counter-ideologies by destabilizing the animated image, literally and figuratively; thus creating the revolting animator and the curious spectator. Hence, the morph becomes a threat to property structure, acts beyond the logic of private interest of capital, resulting in the creation of the uncanny. Nevertheless, capital preempts morphing in animation by bringing it within the logic of capital, by rationalizing it. Capital in the form of technological advancements, being unable to push further into the classical two-dimensional process, took a leap towards the digital processes that changed the relations of production. This alienation was made absolute as the virtual space literally removed the animator from the tactile processes of hand drawn or stop motion techniques. The digital process came to the rescue of capital by gradually removing morphs from the animated image thereby altering the culture of animation in cinema.

As “a maddeningly elastic phenomenon” in the words of communication theorist Marwan M. Kraidy (2005), ‘hybridity’ revolves around the notion that cultural distinctions are porous and absolute ‘truth’ therefore relative. To cultural historian Peter Burke, however, contemporary studies of hybridity regularly reinvent the wheel because “scholars in one discipline have not been aware of what their neighbours were thinking” (2009). Resulting in an outgrowth of overlapping concepts competing for survival, the intellectual debate is often the poorer for it – especially so, since hybridity at heart is more of a dynamic process than a static state. Consequently, addressing the concept of hybridity in combination with the principle of live performance as conceptual metaphor, if anything, allows to underscore the associative character of human consciousness without necessitating exhaustive mapping. Indeed, for as formulated by performance theorist Gabriella Giannachi, the theatre is uniquely suited to generate genuine ‘authenticity’ through “the happening of the interface” (2004) – i.e. by staging its own hypermediacy to highlight its hybridizing potential.

Almost as common in contemporary culture as hybridization itself (and arguably just as schizophrenic), the principle of morphing provides an additional platform to reflect on matters of ‘authenticity’ in the digital age due to its “uncanny dramatization of a process metaphysics” (Sobchack, 2001). Especially so when considering the collaborations between Belgian choreographer Frédéric Flamand with the superstar architect duo Diller+Scofidio on a series of encounters between physical bodies and techno-architectonic stage environments, the most conceptually accomplished of which was Moving Target (1996). As these productions blurred ontological distinctions by combining physical presence with digital effects and ‘live’ computer graphics, their creators interfered in the spatial and temporal ‘liveness’ of the perceived event. The result was a militant attempt at collapsing the designations of ‘live’ and ‘mediated’ via the aforementioned ‘process metaphysics’ by effectively having dancers morph live on stage.


WORKS CITED:

Burke, Peter. Cultural Hybridity. Cambridge: Polity, 2009.

Giannachi, Gabriella. Virtual Theatres: An Introduction. London: Routledge, 2004.

Kraidy, Marwan M. Hybridity, or The Cultural Logic of Globalization. Philadelphia: Temple University Press, 2005.

Sobchack, Vivian. “’At the Still Point of the Turning World’: Meta-Morphing and Meta-Stasis.” Meta-Morphing: Visual Transformation and the Culture of Quick-Change. Ed. and introd. Vivian Sobchack. Minneapolis: University of Minnesota Press, 2000. 131-158.

""Alibi (Black or White) PhD project dissertation is organized in four sections: Terminology and Hypothetic Aspects, Poetic Platform, Project Description and Conceptual and Thematic Explication.

Terminology and Hypothetic Aspects includes my authorial approach, directions for viewing the contents, and definitions of the key terms.
Poetic Platform presents my artistic and research interests, production methodology and approach to the digital paradigm, the initial context, hypotheses, concepts, themes and goals of the project.
Project Description is a comprehensive delineation of the project material, structure and methodology, working procedures, outcomes and the potentials for further development.
Conceptual and Thematic Explication is a theoretical review of the contextual, methodological and poetic aspects of the project such as the title, the study based project realization, the role of research in the artistic process, algorithm and generativity, media qualities of digital image and morphing, the portrait as a visual event, ideological implications of the portrait, ethics of contemporary art, its social status and relations with the global trends in economy, politics, science and technology. Each chapter in this section includes the concluding remarks induced by the artistic and theoretical work on the project.

The dissertation (in Serbian with English summary) is available as a PDF and in print, at the FFA Library, Rajićeva 10, Belgrade.

Keywords: algorithm, analogue, animation, beauty, change, culture, cursor, digital, ethics, event, evolution, face, facialization, generative, image, information, morphing, portrait, reality, study, time, video, virtual, youth.""

Tekst doktorskog umetničkog projekta Alibi (Black or White) je podeljen u četiri celine: Pojmovno-hipotetički aspekti, Poetička platforma, Opis projekta i Koncepcijsko-tematska eksplikacija.

Pojmovno-hipotetički aspekti prikazuje moj autorski pristup, smernice za praćenje sadržaja i definicije najvažnijih pojmova.
Poetička platforma prikazuje moja umetnička interesovanja, pristup produkciji i odnos prema digitalnoj paradigmi, a zatim razmatra okolnosti nastanka, glavne pretpostavke, koncepte, teme i ciljeve projekta.
Opis projekta sadrži detaljan prikaz materijala, strukture i metodologije, postupka rada, rezultata i mogućnosti daljeg razvoja.
Koncepcijsko-tematska eksplikacija teorijski razmatra kontekstualne, metodološke i poetičke aspekte projekta kao što su naziv, studijski pristup i značaj istraživanja u umetničkom procesu, algoritam i generativnost, medijska svojstva digitalne slike i morfovanja, potencijal portreta kao likovnog događaja, ideologija facijalizacije, etika savremenog umetnika, društveni status umetnosti i njeni odnosi sa ekonomsko-političkim i naučno-tehnološkim trendovima. Sva poglavlja u ovoj sekciji sadrže zaključne komentare do kojih je doveo rad na projektu.

Kompletan tekst je dostupan u PDF formatu i odštampan u Biblioteci FLU, Rajićeva 10, Beograd.

Ključne reči: algoritam, analogno, animacija, digitalno, događaj, etika, evolucija, facijalizacija, generativnost, informacija, kultura, kursor, lepota, lice, mladost, morfovanje, portret, promena, slika, studija, stvarnost, video, virtuelno, vreme.

The Human Genome Project has led to the identification of over 30 thousand genes in the human genome, which might encode, by some estimation, 100,000 proteins as a result of alternative splicing. To fully understand the biological functions and functional mechanisms of these proteins, the knowledge of their 3-D structures is required.

La storia delt' insegnamemo della Geometria Descrittiva e delle sue applicazioni nella Facoltà di Architettura è dominata dalle fi gure di tre maestri: Francesco &veri , Enrico Bompiani c Orseolo Fasolo. ~ necessario che io premetta a qualsiasi considerazione un fimo: ho conosciuto personalmente, e nella anività accademica, soltamo l' ultimo d ei tre, che costituisce per me il tramite tra l'oggi e il passato della Facoltà. Un tramite potrà apparire inoppo rtuno nei riguardi dell'obierrività della storia che St O per rievocare e di qualche eventuale giudizio, ma forse lo è meno di quanto si creda: in primo luogo perché la mia fonte è autorevole, in seco ndo luogo perché l'insegnamento si rifl ette nella cultura. quando è appass ionato come fu quello d ei tre Maestri suddetti. e perciò è giusto , in questa solenne occasione, non guardare soltanto alla vicenda di una scienza e della sua evolu z io~ ne, ma anche ai sentimenti dei suoi protagonisti.

debates about media technology and practices. International scholars critically analyze and theorize the materiality and performativity, as well as spatial practices of screen media in contributions that engage with today's digital media culture. For more information about the series, please visit: www.aup.nl thank Jeroen Sondervan, the series editor, for commissioning this volume and Chantal Nicolaes and the production team at AUP for realising the publication so efficiently. We also thank Emmy Kattenbelt for her work on constructing the index and Miguel Escobar for designing the diagrams of the nodes. Last but not least we thank the contributors for their willingness to engage in many dialogues and to adjust their writings to the purposes of the book in what, for us, has been a gratifying, because genuinely interactive, process. Cover illustration: Participant in an immersive performance by CREW, © Eric joris Cover design: Suzan de Beijer, Weesp Lay out: JAPES, Amsterdam ISBN 978 90 8964 255 4 e-ISBN 978 90 4851 314 7 NUR 670