Redundancy of stereoscopic images Experimental Evaluation
Sparse and Redundant Representation Modeling for Image Processing
Michael Elad
The Computer Science Department The Technion – Israel Institute of technology Haifa 32000, Israel Michal Aharon Guillermo Sapiro * Joint work with
3
Denoising By Energy Minimization
Many of the proposed denoising algorithms are related to the minimization of an energy function of the form
1 2 f(x) = x−y 2 2
y : Given measurements x : Unknown to be recovered
+ Pr(x)
Prior or regularization
Relation to measurements
This is in-fact a Bayesian point of view, adopting the Maximum-Aposteriori Probability (MAP) estimation. Clearly, the wisdom in such an approach is within the choice of the prior – modeling the images of interest.
Remove Additive Noise
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2
构图中色彩的隐喻与象征
构图中色彩的隐喻与象征The Metaphorical and Symbolic Significance of Colors inCompositionIn the vast expanse of art, color holds a paramount position as an influential communicator. It's not just about hues or shades; it's about emotions, stories, and meanings that are deeply encoded within each tint. In composition, colors serve as powerful tools to convey messages, invoke feelings, and establish atmospheres, often carrying more than meets the eye.Blues whisper calmness and serenity. They evoke images of clear skies, serene oceans, and infinite horizons, invoking feelings of tranquility and peacefulness. Blues can also represent coldness, sadness, and loneliness - the mood shifts based on the hue’s saturation and shade. Artists frequently employ different blues to set the tone for their paintings, whether they aim for a harmonious scene or a melancholic narrative.Reds radiate passion and intensity. Think of the fire's fury or blood's warmth – both speak volumes about red's ability to ignite strong emotional responses. Reds symbolize love, anger, courage, danger, and power, making them excellent choices when artists want to draw attention or communicate urgent themes. Used sparingly, red can be intense yet contained, while excessive use may lead to overstimulation and tension.Yellows invite sunshine, happiness, and optimism. The brightness associated with yellow invokes cheerful moods and vibrant atmospheres. Yellow can signify energy, joy, caution, decay (when combined with browns), and even warning signs due to its high visibility. Artists often utilize yellow to add vitality and liveliness to their compositions, especially when aiming for cheerful or upbeat scenes. Greens embody nature, growth, and harmony. From lush forests to verdant meadows, greens bring us closer to the natural world, reminding us of life's renewal and sustainability. Greens can also suggest freshness, health, and relaxation, which is why they're commonly found in interiors designed for well-being. In artistic compositions, greens offer balance and stability, complementing other colors effectively without overwhelming them.Purples evoke mystery, luxury, and royalty. This rich hue combines the stability of blue with the energy of red, creating an intriguing mix of feelings ranging from elegant sophistication to eerie enigma. Purples are often used to create dreamy or fantastical landscapes, or to denote something unique and valuable.Colors in composition are much more than mere visual elements; they carry deep metaphorical and symbolic weights. Each tint and shade speaks volumes, evoking various emotions and interpretations depending on context and personal experience. Understanding how these colors work together harmoniously allows artists to craftcaptivating narratives through visual mediums, connecting hearts and minds across cultures and time zones.。
迈瑞铁蛋白检测试剂盒说明书
Manual ProcedureAutomated procedure on requestTest PrincipleFerric ions (Fe +3) are released from transferring under acidicconditions and reduced to ferrous state (Fe +2) by a strong reducing agent. Ferrous ions then react with Ferrozine to form a coloredcomplex which can be measured photometrically. The intensity of the color produced is proportional to the iron concentration in the sample. Lipemic samples are clarified by the detergent.Transferrin-Fe-complex apotransferrin + Fe 3+Fe 3+ Fe 2+Ferrozine + Fe 2+ colored complexStability and preparation of working reagentBuffer Reagent B-R1: liquid Powder Reagent P-R1: powder. Reagent R2: liquid, ready to useWorking ReagentAdd 10 ml reagent Buffer B-R1 to one vial powder reagent P-R1 andmix gently for 15 minutes before use.Stability: 2 weeks at 20 – 25 °C1 month at2 – 8 °CAll reagents are stable up to expiry date given on label when storedat 2 – 8 °CNote : All reagents should be clear solutions. Don’t use if the reagent is turbid. Specimen Collection and Handling1. Non-hemolyzed serum is the specimen of choice.2. Serum should be separated from blood clot as soon as possible.3. Heparinized plasma could only be used, other anticoagulantsshould not be used.4. Serum iron is reported to be stable for 4 days at 20 – 25°C and7 days at 2 – 8 °C.CalibratorMediCal U Cat. No. 15011Iron STD. Cat. No. 16131Quality controlMeditrol N Cat. No. 15171 Meditrol P Cat. No. 15181Iron (Ferrozine)Colorimetric testPowder liquid reagentsCalculationConc.Iron = ⨯ Conc. Standardμμ g /dlLinearity Up to 1000 μg/dl (179 μmol/L); If result exceeds 1000 μg/dl, repeat test using diluted sample (1+1) with sodium chloride solution (0.9 %) and multiply result by 2.Interference 1. Certain drugs and other substances are known to influencecirculating iron levels. 2. To make tubes, pipettes, etc. iron free, they must be washed with diluted (1+2) hydrochloric or nitric acid followed by several rinsings with iron free deionized or distilled water.Precautions 1. The reagent is toxi c, don’t pipette by mouth, avoid all contacts. 2. Use only disposable plastic containers or iron free tubes andcuvettes. Avoid any contamination by the use of clean laboratory material.Cat. No. 12881 B-R1 1 Buffer 50mlFor 50 testsP-R1 5 powder for 10 mlR2 1 x 10 ml(A S -A SB ) SampleA standardGuanidinium PH=4.5 Ascorbic acidIron ferrozine methodReference rangeReferences1. Garoc A., Clin. Chem. Acta 94, 115 (1979).2. Brivio et coll., La Ricerca Clin. Lab. 18, 523 (1986).3. Young, DS., Effects of Drugs on Clinical Laboratory Tests, fifthedition 2000, AACC Press, Washington, D.C.。
照片美学分析英语作文
照片美学分析英语作文Photography is an art form that has evolved significantly over the years, and it has become an integral part of our everyday lives. The art of photography is not just about capturing a moment in time, but also about understanding the aesthetic principles that govern the creation of a visually compelling image. In this essay, we will explore the concept of photographic aesthetics and how it can be used to create stunning and impactful images.One of the fundamental elements of photographic aesthetics is composition. The way in which the various elements within the frame are arranged can have a significant impact on the overall impact of the image. The rule of thirds is a widely recognized compositional technique that involves dividing the frame into a grid of nine equal parts and placing the subject or focal point at the intersection of these lines. This creates a sense of balance and harmony within the image, drawing the viewer's eye to the most important elements.Another important aspect of photographic aesthetics is the use of light. The way in which light interacts with the subject and the environment can create a range of visual effects, from dramatic shadows to soft and ethereal lighting. Photographers who are skilledin the use of light can create images that evoke a particular mood or emotion, whether it's the warm glow of a sunset or the stark contrast of a high-contrast black and white image.Color is also an important consideration in photographic aesthetics. The choice of color palette can have a significant impact on the overall tone and mood of an image. Some photographers may opt for a more vibrant and saturated color scheme, while others may prefer a more muted and subdued palette. The use of color can also be used to create a sense of balance and harmony within the frame, as well as to draw the viewer's attention to specific elements.Another important aspect of photographic aesthetics is the use of negative space. Negative space refers to the areas within the frame that are not occupied by the subject or main elements of the image. Skillful use of negative space can create a sense of balance and visual interest, as well as draw the viewer's attention to the most important elements of the image.Perspective is also an important consideration in photographic aesthetics. The way in which the photographer chooses to position the camera can have a significant impact on the way in which the subject is perceived. For example, shooting from a low angle can create a sense of power and dominance, while shooting from a high angle can create a sense of vulnerability or smallness.Finally, the choice of lens and camera settings can also play a role in the overall aesthetic of an image. Different lenses can create different effects, such as a wide-angle lens that creates a sense of depth and drama, or a telephoto lens that compresses the image and creates a more intimate and isolated feel.In conclusion, photographic aesthetics is a complex and multifaceted field that requires a deep understanding of the various elements that contribute to the creation of a visually compelling image. Whetherit's the use of composition, light, color, negative space, perspective, or camera settings, the skilled photographer can create images that not only capture a moment in time, but also convey a sense of emotion and beauty. By mastering the principles of photographic aesthetics, photographers can create images that truly stand out and leave a lasting impression on the viewer.。
潘诺夫斯基图像阐释方法三个层次
潘诺夫斯基将瓦尔堡学派的图像阐释方法归纳为三个层次,分别对应于艺术作品的三层意义。
第一层次是“前图像学描述”(Pre-iconographical Description),主要探讨图像所再现的、模仿的“自然意义”,一般是由可识别的物象或事件构成。
因此可称为图像本体阐释学。
第二层次是严格意义上的图像学分析,主要是探讨图像所暗含的“常规意义”。
“常规意义”源自某种普遍的因果记忆或逻辑推理,比如画面中的晚餐往往被理解为“最后的晚餐”,画面中的战役也往往被识别为滑铁卢战役,可称为图像寓意阐释学。
第三层次是图像研究的解释,它所关注的是图像生产的文化密码,即彼得·伯克(Peter Burke)在《图像证史》中所说的“揭示决定一个民族、时代、阶级、宗教或哲学倾向基本态度的那些根本原则”。
比如,潘诺夫斯基在《哥特式建筑和经院哲学》一书中重点分析了图像背后所隐含的文化哲学内涵:12—13世纪的建筑学体系和哲学体系之间存在着惊人的异体同形的关系,建筑图景只不过从另一个维度对天主教教义进行论证,那些醒目的视觉符号只不过指向了神灵、天使和天国中的事物。
因此,第三层次的意义生产可称为图像文化阐释学。
例如:图像阐释的符号神话随着视觉技术和传播技术的进步,当今世界已经进入了以图像(Image)为中心的时代。
相应地,视觉性(Visuality)在文化中扮演着极其重要的角色,甚至直接成为文化的主因,我们用以表征和理解世界的方式很大程度上依赖于图像化/视觉化的形式、经验和趋势。
海德格尔索性将当前的时代称为“世界图像时代”,认为世界被把握为图像了。
马丁·杰进一步将这一文化现象称为“视界政体”(Scopic Regime)的形成与扩张,即当代社会正在经历一场由“文字中心主义”向“视觉中心主义”转变的文化变革,整个社会逐渐演变成以视觉性为基础的实践系统和生产系统。
在“视界政体”系统中,逐渐建立了一套以视觉性为标准的认知制度甚至价值秩序,一套用以建构从主体认知到社会控制的一系列文化规则和运作准则。
数字放射成像的英文表达式
数字放射成像的英文表达式Digital radiography has become an essential tool in modern medicine. It's quick, efficient, and provides doctors with a clear view of a patient's internal structures. No more waiting for films to develop the images are right there on the screen, ready for analysis.When it comes to diagnosing a patient, digital radiography makes a huge difference. With the ability to zoom in, adjust contrast, and even manipulate the image, doctors can get a more detailed look at what's going on inside the body. It's like having a superpower!Not only that, but digital radiography is also much more environmentally friendly. No more chemical waste from developing films, and the images can be stored digitally, saving space and reducing the need for physical storage.And let's not forget about the patient experience. Digital radiography means less time spent in the hospital,faster diagnosis, and ultimately, better care. Patients love it because it's convenient and efficient.In today's fast-paced world, digital radiography is a game-changer. It's revolutionizing the way we diagnose and treat patients, making medicine more efficient, more environmentally friendly, and ultimately, better for everyone.。
亚当斯的区域嚗光理论
亚当斯的区域嚗光理论2008-3-18 11:41|发布者: |查看: 44|评论: 0|来自: 摄影技巧亚当斯的区域曝光理论美国著名摄影家安塞尔·亚当斯的区域曝光理论,是半个多世纪以来摄影科学的基本理论之一。
亚当斯在他所写的《负片与照片》一书中对此曾作了详尽的表述。
他所介绍的方法虽然较为复杂,然而是极其有用的。
有人曾指出,一旦掌握了这种方法,甚至是初学摄影者也能像经验丰富的老手一样,在按下快门之前就能预料到最终得到的照片是什么模样。
只要掌握了这种方法,摄影者就会学会分析景物,肘景物进行更为准确的测光,并根据测光的结果作出适当的曝光,从而把对景物的视觉印象忠实地或者创造性地再现在照片上。
根据亚当斯的理论,黑白照片的色调或灰调可以分为十个“区域”,由零区域(相纸能够表现出的最黑的部分)至第十区域(相纸的底色——白色)。
第五区域是中等的灰度,它可以根据测光表的读数曝光而得出来;第三区域是有细节的明影部分,而第八区域则是有细节的强光部分。
凭着区域系统,摄影者便可以颈见到照片的最后影像,并使底片能够根据摄影者心目中的构思去曝光。
一个简单的例子,就是量度阴影部分的光量,为使这部分能够有更多细节,并将光圈增大两级;然后量度重要强光部分的光量,按照区域系统理论,强光部分比阴影部分亮了五级,如果明影部分是第三区域的话,强光部分便是第八区域。
倘若这是摄影者的构思,便可以马上进行拍摄。
要是想使强光部分有更多层次,摄影者可以缩短底片的显影时间来减低反差,使第八区域变为第七区域。
相反地,如果想使重要阴影部分有更多层次,而这部分又比较明亮部分暗了三级,显影时便可增加时间以增大照片的对比度,从而使强光部分变得更亮。
当然,在充分掌握曝光区域理论之前,必须进行一些曝光和显影的试验,有关的内容较为繁琐,不再赘述。
下面介绍亚当斯的一幅作品及其拍摄经过,以便对他的这种区域曝光法能有所了解。
《冬天的风暴》是亚当斯1940年拍摄于约塞米蒂国家公园的一幅作品。
Complete reducibility of systems of equations with respect to
1
1.1
Introduction
Framework
Since the 1960’s, the theory of finite semigroups has drawn a strong motivation from applications in computer science, namely as a natural algebraic framework for classifying combinatorial phenomena described through finite automata, rational languages, or various kinds of logical formalisms [30, 31, 40, 41, 51]. A central question in problems arising from such applications is to determine effectively whether a given finite semigroup belongs to a fixed pseudovariety (that is a class closed under taking homomorphic images, subsemigroups, and finite direct products) or to show that there is no algorithm that solves the membership problem for the pseudovariety. Pseudovarieties are often defined by describing a set of generators, which are usually constructed by applying some natural algebraic construction to members of given pseudovarieties. Thus, for two given pseudovarieties U and V, the central problem translates into solving the membership problem for their join U ∨ V, their semidirect or wreath product U ∗ V, their bilateral semidirect or block product U V, their Mal’cev product U m V, or the power P V. While there is no hope for a universal solution of this type of problem, as it has been shown that none of these operators preserves decidability of the membership problem [1, 46, 47, 23], in many particular cases the problem can be solved by exploring special structural features of the semigroups involved.
被挪用和改变的摄影——谈“图像一代”创作中的大众文化反思
艺术大观Art Panorama182被挪用和改变的摄影——谈“图像一代”创作中的大众文化反思周旭帆(身份证号,13013219820815****)摘要:图像是一种媒介,连接人的思想与现实的世界。
麦克卢汉在《媒介-论人的延伸》中提出媒介即信息的观点,即不同的媒介带来不同的信息。
如果说人类历史早期是通过文字和图画在勾勒柏拉图洞穴之中的幻影;1939年摄影诞生后,通过照片看世界,则将我们推入一个虚拟世界的幻境。
关键词:图像一代;创意;创作;意识形态人们渴望世界的真相,却又在思考中落入信息的囚笼。
维特根斯坦言:“语言是思维的边界。
”如果说使用语言的人注定无法越过自身语言去思考,图像则似乎天然具有观看的普世性。
尤其是摄影摆脱了人的主观创造,作为能够见证曾经存在过瞬间的记录工具,想当然的被人们认为代表照片即真实,照片即真相。
可是通过摄影史的研究我们发现,照片却不可能成为绝对的世界客观镜像。
每一张照片里都充盈着丰富的意识形态,由实施、承受、观看三者共同构成。
随着数字技术的进步,大众媒体的发展,“图像一代”的艺术家尝试用回归大众文化的方式回应着这个时代的思考。
一、“图像一代”的创作背景20世纪80年代,整个西方随着消费文化的迅速发展,大众媒体逐渐主宰人们的生活,以出售商品为目的的广告开始贩卖人类的欲望,滥用的现象和分裂的意识将图像与现实割裂,观看开始以景观积累的形式出现,将一切现实沦为表象。
深受如火如荼消费文化影响的一些艺术家开始尝试通过大众媒体中的图像反思这种现象。
1977年格拉斯·柯林普在纽约艺术家空间策划了“图像”展览初步定义了“图像一代”概念。
后杜格拉斯·前普提出这类以大众文化为基础使用图像挪用再创作的艺术家统称为“图像一代”。
大都会博物馆策划“图像的一代1977-1987”深入的梳理了这类艺术家的创作。
艺术史中典型的“图像一代”艺术家包括芭芭拉·克鲁格、里查德·普林斯、大卫·萨勒、劳瑞·西蒙斯、路易·劳勒、韦德·盖顿等。
图像分析英语作文模板
图像分析英语作文模板Title: A Comprehensive Guide to Writing an English Essay on Image Analysis。
Introduction:Image analysis is a crucial aspect of visual communication, requiring a keen eye for detail and an understanding of various techniques. In this essay, we will delve into the fundamentals of image analysis, discussing key components such as interpretation, context, and the significance of visual elements.1. Introduction to Image Analysis:Image analysis involves examining visual content to derive meaning, often in fields such as art, media, and communication. It encompasses a wide range of techniques, including semiotics, composition analysis, and visual rhetoric.2. Key Components of Image Analysis:a. Semiotics: This refers to the study of signs and symbols and their interpretation. In image analysis, semiotics help identify the connotations and meanings associated with visual elements.b. Composition Analysis: Analyzing the arrangement of visual elements within an image is crucial for understanding its message. Composition techniques such as framing, balance, and focal points influence how viewers perceive an image.c. Visual Rhetoric: Visual rhetoric examines how images persuade and influence their audience. Understanding visual rhetoric involves analyzing techniques such as color choice, lighting, and visual metaphors.3. Steps in Image Analysis:a. Observation: Begin by carefully observing theimage, noting its visual elements, composition, and context.b. Interpretation: Interpret the meaning behind the visual elements, considering cultural, historical, and contextual factors.c. Analysis: Analyze the image's composition, visual rhetoric, and the relationship between its elements to understand its message.d. Conclusion: Summarize your findings and reflecton the image's significance within its context.4. Example Analysis:Let's analyze an image of a protest rally. The image features a crowd of people carrying signs and chanting slogans. The composition is chaotic, with overlappingfigures and bold colors dominating the scene. The use of red, a color often associated with passion and activism, conveys the intensity of the protest. Additionally, thefocal point of the image is a banner held high by theprotesters, featuring a powerful slogan demanding social change. Through semiotic analysis, we interpret the image as a representation of collective activism and a call to action for societal reform.5. Conclusion:Image analysis is a multifaceted process that requires careful observation, interpretation, and analysis. By understanding the key components of image analysis and following a structured approach, one can uncover the deeper meanings embedded within visual content. Whether analyzing art, advertising, or media, the skills gained from image analysis are invaluable for navigating the visual landscape of the modern world.。
摄影上的红点 英语
摄影上的红点英语The Red Dot in Photography: A Technical and Aesthetic Exploration.In the world of photography, the red dot is a familiar sight, often serving as a silent yet powerful companion to the lens. This small, often unnoticed detail plays acrucial role in the art and science of capturing images. The red dot is not just a marker; it's a tool, a reference point, and a symbol of precision and accuracy.1. Technical Significance.The red dot is typically found on the center of the viewfinder or on the camera's sensor. It serves as a visual aid for the photographer, indicating the exact point where the lens is focused. This is especially useful when shooting manually, as it allows the photographer to align the subject with the center of the frame, ensuring maximum sharpness and clarity.In addition, the red dot often doubles as a reticle for aiming, particularly in sports and wildlife photography where split-second timing and precision aiming are paramount. By lining up the red dot with the subject's eyes or a critical point, photographers can ensure that their shots are both accurate and impactful.2. Aesthetic Purpose.Beyond its technical function, the red dot also serves an aesthetic purpose. In black and white photography, the red dot stands out, adding a pop of color that can draw the viewer's eye to a specific point in the image. This can be used to emphasize a particular detail, such as a face or an object, within the composition.In color photography, the red dot can still be effective, but it must be used carefully to avoid distracting from the overall image. Sometimes, the red dot can blend seamlessly into the scene, adding a subtle yet impactful touch. In other cases, it can be used moreprominently, serving as a visual focal point that draws the viewer into the image.3. Historical Context.The use of the red dot in photography has a long history, dating back to the early days of the medium. In the analog era, the red dot was often a physical mark on the lens or viewfinder, helping photographers align their shots. As photography evolved and digital cameras became more prevalent, the red dot evolved with it, becoming a digital overlay on the viewfinder or live view screen.4. Modern Applications.In modern photography, the red dot has found new applications. With the advent of digital cameras and sophisticated software, photographers can now manipulate the red dot in post-production, using it to create unique effects and compositions. For example, they can overlay the red dot on top of an image to create a retro feel or use it as a creative element to guide the viewer's eye through theframe.5. Conclusion.The red dot in photography is a versatile and powerful tool. It serves as a technical aid for precision aiming and focusing, but it also has an aesthetic quality that can enhance the impact of an image. Whether it's a subtle addition or a prominent feature, the red dot can be used to create a sense of drama, emotion, or simplicity, depending on the photographer's vision and the context of the shot.In conclusion, the red dot is not just a marker; it's a symbol of precision, accuracy, and creativity in photography. It represents the photographer's eye, their intention, and their craft. As we look towards the future of photography, the red dot will continue to evolve andfind new applications, remaining a constant companion to the lens and a testament to the art of capturing light.。
《布达佩斯大饭店》的影像美学特征分析
《布达佩斯大饭店》的影像美学特征分析摘要:韦斯·安德森是美国具有鲜明特色的独立电影导演,他的每一部影片都在寻求自我表达的突破,《布达佩斯大饭店》作为巅峰之作,获得了第64届柏林国际电影节银熊奖、第87届奥斯卡金像奖最佳服装设计和最佳艺术指导等多项奖项。
本文旨在通过该影片的影像风格表达、视知觉心理在构图与色彩方面的应用以及具有浓厚隐喻意味的象征价值来分析《布达佩斯大饭店》的影像美学特征。
关键词:《布达佩斯大饭店》;影像风格;视知觉心理;象征价值由韦斯·安德森导演的《布达佩斯大饭店》主要讲述了二十世纪三十年代到八十年代之间欧洲背景下布达佩斯大饭店中所发生的的传奇故事。
以主人公古斯塔夫为主要叙述视角,借助独特的影像风格与视听呈现,为观众带了别样的美学思考。
一、复古喜剧的影像表达(一)复古怀旧风格韦斯·安德森导演的创作思维中蕴含着浓重的怀旧情结,也正是依托怀旧情结而存在的过去时代的文化美学使得其电影作品呈现出独特的复古怀旧风格。
影片中关于复古怀旧风格的表达不仅仅拘泥于对欧洲旧时代历史文化美学的呈现,同时也是对于旧时代背景下充满时代特色的影视艺术表现手法的体现。
影片《布达佩斯大饭店》中男女主人公经历了种种困难,马上就要在一起的时候,二战突然爆发,男主角Zero因为其难民的身份不被政府认可,女主角阿加莎在婚后两年与孩子一起离世,美好的一切都被战争所毁灭,最后只剩Zero独自一人无依无靠的活着,经营着布达佩斯大饭店。
影片中怀旧风格的呈现,不免引起观众对于战争的反思,而这也恰恰的怀旧文化所具有的价值所在。
(二)黑色幽默风格导演韦斯·安德森被称为“新一代的比利·怀尔德”,就是因为他电影中对于怀尔德式黑色幽默风格的演绎,即以反讽的方式表现现实社会中的阴暗面,通过黑色幽默的方式来揭露社会问题。
这一喜剧特征在《布达佩斯大饭店》中通过镜头运动、人物位移和快节奏的肢体语言被凸显,影片中的镜头几乎始终都保持着运动状态,在增加镜头信息量的同时,也加快了故事情节的发展,从而造成一种形式美感,在快节奏的镜头变化中实现喜剧效果。
“模模糊糊的抽象主义”和“精确的像素化”城市景观
“模模糊糊的抽象主义”和“精确的像素化”城市景观
英国艺术家詹森·安德森(Jason Anderson)用色块式的“像素化”表现手法创作了一系列抽象的城市景观油画艺术作品。
画布上的每件作品都有一个明亮的黄色调的焦点,它似乎代表着热闹的街区、深夜营业的店铺、夜航的轮船、正在升起或落下的太阳…
詹森·安德森的像素化色块呈不规律排列,上下映照的模样,让人一下子联想到海平面,或者雨夜的路面。
遥远的视角,让建筑物看起来十分小巧,在雾色朦胧的视线中,显得格外神秘又梦幻迷人。
之前,詹森·安德森接受了一份大教堂彩色玻璃的修缮工作,他在修缮过程中,对彩色玻璃的设计有了深刻的理解,而且,修缮过程中大量类似拼图的重复性工作,深深的影响着他后来的艺术作品风格。
托福修辞目的性题专项强化训练及答案
托福修辞目的性题专项强化训练及答案2017年托福修辞目的性题专项强化训练及答案导语:修辞目的性题也是托福考试中的一大题型,多做这样的题目,就能掌握这种题目的'解题思路。
Xerography1 One more familiar use of electrochemistry that has made its way into the mainstream is xerography, a process for replicating documents that is dependent on photoconductive materials. A photoconductive material is an insulator in the dark but becomes a conductor when exposed to bright light. When a photocopy is being made, an image of a document is projected onto the surface of a rotating drum, and bright light causes the photoconductive material on the surface of the drum to become conductive.2 As a result of the conductivity, the drum loses its charge in the lighted areas, and toner (small grains to which dry ink adheres) attaches itself only to the darker parts of the image. The grains are then carried to a sheet of paper and fused with heat. When a laser printer is used, the image is projected by means of a laser beam, which creates a brighter light and a greater contrast between lighter and darker areas and therefore results in sharper printed images.1. The author begins the first paragraph with One more familiar use of electrochemistry in order to(A) explain that xerography is one of the less familiar uses of electrochemistry(B) make it clear that electrochemistry requires photoconductive materials(C) show that xerography is the only known use for electrochemistry(D) indicate that other less familiar uses have already been discussed2. Why does the author explain that A photoconductive material is an insulator in the dark but becomes a conductor when exposed to bright light?(A) It gives an explanation of a property that is necessary for xerography.(B) It indicates that bright light is required for insulation to take place.(C) It gives one example of a successful xerographic process.(D) It explains the role of insulation in xerography.3. The author places the phrase small grains to which dry ink adheres in parentheses in order to(A) provide information that contradicts the previous statement(B) provide another example of conductivity(C) provide further detail information about toner(D) provide an alternate explanation for the effectiveness of toner4. Why is a laser printer mentioned?(A) It is an alternative to xerography.(B) It is a way of duplicating without using electrochemistry.(C) It is a second example of xerography.(D) It is a less effective type of xerography than is a photocopier.正确答案:D_A_C_CParagraph Demographic Change1 By the end of the 1920s, American society had undergone a long and historic demographic change. Since the 1870s, the country had been moving from a more rural mode that was based on high birthrates-as high as 50 births annually per thousand people in the early nineteenth century-to a more metropolitan mode. Prior to the 1870s, the population of the country was increasing by about a third every decade; however, by the end of the 1920s, a radical about-face had taken place.2 One major factor to affect the demographics of the country during this period was a dramatic decrease in birthrates. The trend during this era was more pronounced in urban areas but also had aneffect in rural areas. As a result of the trend toward smaller families, particularly in cities, the birthrate was down to 27.7 births annually per thousand women by 1920 and had dropped even further-to 21.3 births annually per thousand women-by 1930.3 At the same time, the deathrate, too, was falling. Urbanliving led to better sanitation, refrigeration, and water purification; it also resulted in better medical care as doctors and hospitals were more readily available. Most likely as a result of these factors, there were only eleven deaths per thousand annually by the early 1920s, which was half the rate of the 1880s.5. Why does the author include the phrase as high as 50 births annually per thousand people in the early nineteenth century in paragraph 1?(A) To show that metropolitan areas of the country had higher birthrates than rural areas(B) To provide statistical evidence of the elevated birthrate in the 1870s(C) To quantify what had happened with the American populationin the previous century(D) To argue against the belief that the demographics of the country had changed6. The author uses the word however in paragraph 1 in order to(A) to make it clear that an extreme change had taken place(B) to emphasize how tremendously the population was increasing(C) to point out an alternate explanation for the change(D) to indicate a difference of opinion with other demographers7. The author includes the word too in paragraph 3(A) to indicate that both the birthrate and the deathrate were holding steady(B) to show that the rural mode was similar to the metropolitan mode(C) to clarify the explanation that population trends before and after 1870 were similar(D) to emphasize that paragraph 3 discusses a second factor in the demographic change8. Why does the author mention better medical care in paragraph 3?(A) It helps to explain why the birthrate is increasing.(B) It is an example of a factor that contributed to the improved birthrate.(C) It helps to explain why the deathrate is increasing.(D) It is an example of a factor that contributed to the improved deathrate.9. The author includes the expression Most likely in paragraph 3 to show(A) that the data about the average number of deaths was not verified(B) that doctors and hospitals may not have actually been more available(C) that other factors may have contributed to the decreasing deathrate(D) that the deathrate may not have decreased as much as stated 正确答案:B_A_D_D_C。
主观评价图像色彩管理的关键术语
主观评价图像色彩管理的关键术语☑ Metamerism(同色异谱)当一对颜色在某光源下,呈现的颜色是相同,但在另外的光源下,其呈现的颜色是有差异,此现象为“同色异谱”。
☑ ColorTemperature(色温)物体在加热时,所发出的色光测量。
色温常用绝对温度或开尔文(Kelvin)度表示,低的色温如红色是2400°K,高的色温如蓝色是9300°K,中性色温如灰色是6500°K。
☑ Opacity(遮盖力)遮盖力指标可以反应涂料式油墨对于底材的遮盖能力。
若遮盖力越高代表涂料或油墨在应用时不容易因底材的颜色、涂料或油墨颜色改变。
☑ Colorimeter(色度仪)模拟人眼对红、绿、蓝光响应的光学测量仪器。
☑Reflectancecurve/Spectralcurve(反射光谱曲线)一幅描绘物体对于不同波长的光线的反射率的图表。
☑ D50表示色温为5000°K的CIE标准照明体。
在印刷工业中,这色温较广泛地用于制作观察灯箱。
☑ Reflectance(反射率)描写光从物体表面反射的百分率,用分光光度仪可测量出沿可见光谱的不同间隔内物体的反射率,若所可见光谱为横坐标,所反射率为纵坐标就可绘制物体色的光谱曲线。
☑ D65表示色温为6504°K的CIE标准照明体,是一般常用的测试照明体。
☑ Spectrophotometer(分光光度仪)测量光波经过物体反射或透射特性的测量仪器,并将测量结果表示为光谱数据。
☑ Electromagnetic Spectrum(电磁光谱)以不同尺寸在空气中传播的电磁波辐射带,用波长表示,不同波长具有不同性质,很多波段是人眼不能看到的。
只有波长在380—720nm之间的电磁辐射是人眼能看到的可见光波。
在可见光波以外的是不可见,如T射线、X射线、微波和无限电波等。
☑ Specular Excluded(SCE,SPEX,Ex)(排除镜面反射)利用积分球分光光度仪测量物件时,物件的镜面反射不会被测量。
德勒兹 影像符号
德勒兹影像符号德勒兹:探索影像符号的哲学观点德勒兹(Gilles Deleuze)是20世纪法国著名的哲学家和思想家,他对影像符号的理论具有深远的影响和重要的贡献。
在他的著作中,德勒兹以独到的视角解读了影像符号的本质和作用,提出了独特的观点。
根据德勒兹的观点,影像符号是由影像和语言所构成的复合体。
影像被视为直接捕捉到的感知现象,它通过图像的形式传达信息,具有直观、非立即性和多义性等特征。
而语言则是对影像的解读和表达,通过符号和规则的运用,将影像转化为有意义的表达方式。
影像和语言在德勒兹的理论中相互依存、相互作用,共同构成了影像符号的基础。
德勒兹进一步认为,影像符号不仅仅是一种视觉现象,更是一种生产力和控制力。
影像符号铸造了现实世界的表象,并通过这些表象塑造了我们的认知和思维方式。
影像符号不仅影响我们的感知和感受,还影响了我们对世界的解读和理解。
它具有潜移默化的力量,塑造了社会的观念和行为模式,对个体和集体的意识形态产生了深远的影响。
在德勒兹看来,影像符号的重要性在于它的能动性和创造性。
影像符号不仅仅是被动接受和被动理解的对象,更是一种主动的表达和生成。
它具有多层次、多维度的表达方式,可以通过多样的形式和元素来传达信息和体现意义。
影像符号的创造和解读过程是一种复杂、个体化的经验,涉及到主观与客观、感性与理性的相互关系和协作。
总之,德勒兹对于影像符号的哲学观点提供了一种全新的理解视角和思考框架。
他强调了影像符号的多元性、生产性和影响力,揭示了影像符号在理解世界和塑造社会中的重要作用。
了解和探索德勒兹的影像符号观点,对于深入理解影像文化和符号学具有重要的意义。
当年想让安迪·沃霍尔给你拍张快照,这4样东西不能少
当年想让安迪·沃霍尔给你拍张快照,这4样东西不能少在1958 - 1987 年间,安迪沃霍尔背着他的宝丽来相机到处拍照。
那个年代,“自拍”还被称作“自画像”,Instagram 上的自拍玩法还未流行。
最近,安迪沃霍尔基金会联合 Taschen 将安迪沃霍尔拍摄的这些照片集结出书。
这本全程由宝丽来拍摄的书里,记录了安迪沃霍尔和他的明星朋友、爱人、籍籍无名之辈,时髦人士的生活瞬间。
Dennis Hopper,Divine,Audrey Hepburn,Yves Saint Laurent,Mick Jagger,Alfred Hitchcock,Jack Nicholson,elé,Debbie Harry 等纷纷入镜。
就像 Instagram 一样,宝丽来让安迪沃霍尔有一种独特的视角去记录那个时代流行艺术以及现代主义思潮下的人像。
此前,这些照片从未公开过。
虽然宝丽来的照片的效果可能一些粗糙和即兴,但风韵犹存。
当然,安迪沃霍尔也有一些拍摄的偏好和标准。
眼镜1972 年,安迪沃霍尔这张照片是安迪沃霍尔自己。
照片中的他戴了大框的圆形眼睛,领结和灯芯绒的搭配展现了成熟的学院风。
丝巾1969 年,candy Darling丝巾当然是可以任意地戴,但是 Candy Darling 把丝巾裹在了头上做了头巾,格外的复古。
度假胜地的阳光1973 年 ,Yves Saint Laurent 和 Bianca Jagger 在威尼斯虽然安迪沃霍尔算是纽约人士,但他成功混迹到了各种圈子。
这张 Yves Saint Laurent 和 ianca Jagger 在威尼斯度假的照片由他拍摄。
照片中最鲜艳的应该是度假胜地的阳光,放在宝丽来相机里是历史的味道。
凝视的小眼神1974 年, Divine在安迪沃霍尔的这本书里,大部分人像都笑容可掬。
但也不妨碍他探索一下耍酷的表情。
美国演员 Divine 的这张闷闷不乐的表情就让安迪沃霍尔逮个正着。
图像转向
图像转向阿莱斯·艾尔雅维茨著/闫玉刚译1993年,马丁·杰出版了他的富有影响力的著作《低垂的眼睛:20世纪法国思想中对视觉的诋毁》。
在这本书中,马丁·杰对20世纪法国哲学进行了全面的考察,他指出,在过去一个世纪中,很多法国哲学(如果不是全部的话)即使不全是偶像破坏的,也是明显地反视觉的(anti-ocular)——当然,梅洛·庞蒂的存在主义现象学是一个例外,它有时甚至被称为“视觉本体论”。
它以这种方式对此前欧洲历史上的从特土良基督教思想家开始的语言论转向作出回应。
在早期,土特良等基督教的理论捍卫者必须反对当时遍及希腊和罗马的对景观的崇拜和迷狂。
为了反对这些,土特良等人对其反面进行了强调,即,强调来自于基督教的犹太根源的偶像攻击和对雕塑形象的禁止。
这样做的结果就是对文字重要性的强调,这一点在新教理论及其后来实践的中不断重复。
因此,在欧洲早期思想和20世纪法国哲学之间存在着一种相似性。
尽管也可以说上个世纪法国哲学对视觉形象的诋毁并不新鲜,它不过是早期理论实践的一种延续——特别是当我们考虑到这些对欧洲思想史和过去两个世纪的文化的考察的时候更是如此,但是,这并没有回答为什么最近我们需要重新运用一种偶像破坏实践的问题。
由于20世纪法国哲学在当前的哲学、后结构主义、批判理论等相关的理论探讨中仍然是主要的参照,这种再运用就变得更为必要。
对艺术来说更是如此,比如,马歇尔·杜尚将其作品认定为“反视觉的”,以此强调它们的反视觉和反形象的特征。
这并不仅仅是一种偶然的言词,因为,如果人们有机会参观并不常见的杜尚全部作品展的时候,他就会奇怪地注意到——至少我在威尼斯格拉西府邸参观杜尚作品时是这样,杜尚的一生所创造的作品实际上是非常之少的。
一间大厅里就足以储藏杜尚的所有作品,然而,它们的物质存在较之于它们在理论上的重要性及其艺术上的美感和文化上的影响来说变得不重要了。
当然,我们并不能认为只有20世纪法国哲学才是反视觉的:马丁·海德格尔也是如此,特别是在1938年的《世界图像时代》一文中,海德格尔认为,从柏拉图到亚里士多德再到笛卡尔和后笛卡尔思想,都将世界转化为一种“图像”。
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Redundancy of Stereoscopic Images:Experimental EvaluationL. P. Yaroslavsky1, J. Campos2, M. Espínola2, I. Ideses11 Dept. Interdisciplinary Studies. Faculty of Engineering. Tel Aviv University.Tel Aviv, Ramat Aviv 69978, Israel2 Dept. Física, Universidad Autónoma de Barcelona, 08193 Bellaterra, Spain1e-mail: yaro@eng.tau.ac.il, 2Juan.Campos@uab.esAbstract: With the recent advancement in visualization devices over thelast years, we are seeing a growing market for stereoscopic content. In orderto convey 3D content by means of stereoscopic displays, one needs totransmit and display at least 2 points of view of the video content. This hasprofound implications on the resources required to transmit the content, aswell as demands on the complexity of the visualization system. It is knownthat stereoscopic images are redundant, which may prove useful forcompression and may have positive effect on the construction of thevisualization device. In this paper we describe an experimental evaluation ofdata redundancy in color stereoscopic images. In the experiments withcomputer generated and real life and test stereo images, several observersvisually tested the stereopsis threshold and accuracy of parallax measuringin anaglyphs and stereograms as functions of the blur degree of one of twostereo images and color saturation threshold in one of two stereo images forwhich full color 3D perception with no visible color degradations ismaintained. The experiments support a theoretical estimate that one has toadd, to data required to reproduce one of two stereoscopic images, onlyseveral percents of that amount of data in order to achieve stereoscopicperception.©2004 Optical Society of AmericaOCIS codes: 330.1400, 330.7310References and links1. B. Blundell, A. Schwarz, Volumetric Three Dimensional Display Systems, J. Wiley&Sons, N.Y.,20002. M. Halle. Autoestereoscopic displays and computer graphics, Computer Graphics. pp 58-62. 1997.3. K. Choi,, H. Kim, B. Lee, Full-color autostereoscopic 3D display system using color-dispersion-compensated synthetic phase holograms, Optics Express, 18 Oct. 2004/Vol. 12, No. 21, 52294. G. Mather and D.R.R. Smith. Depth cue integration: stereopsis and image blur. Vision Research 40(2000), 3501-3506.5. L. Yaroslavsky, Digital Holography and Digital Image Processing, Kluwer Academic Publishers,Boston, 2004.6. B. Julesz, Foundations of Cyclopean Perception, The University of Chicago Press, 1971, p. 96,7. L. P. Yaroslavsky, On Redundancy of Stereoscopic Pictures, Acta Polytechnica Scandinavica, n. 149.Image Science'85. Proceedings. Helsinki, Finland., 11-14 June 1985, V. 1, p. 82-858. L.P. Yaroslavsky, The Theory of Optimal Methods for Localization of Objects in Pictures, In:Progress in Optics, Ed. E. Wolf, v.XXXII, Elsevier Science Publishers, Amsterdam, 19931. IntroductionAs digital imaging techniques gain popularity and acceptance, rendering the race for increased spatial resolution marginal, the field of 3D imaging and visualization remains one of the last uncharted frontiers. Interest in 3D visualization and 3D content has been constantly growing as imaging devices were developed, even though a killer application for 3D visualization is yet to be developed. It is obvious, however, that future imaging devices will not be confined to 2D, but rather will capture 3D images to be displayed either in 2D or 3D at will.There are many different ways to display 3D images[1,2].Most methods for 3D display are based on stereopsis which is one of the most important visual mechanisms of 3D vision ([6]). In stereoscopic displays, two images of the 3D scene obtained from two viewing positions are projected separately on left and right eyes of the viewer thus enabling 3D perception through the stereoscopic vision mechanism.The most straightforward way to display stereoscopic images is using stereoscopes. Stereoscopic and, in particular, autostereoscopic displays are considered the high-end solution for 3D visualization [2]. These devices exhibit excellent stereo perception in color without the need for viewing aids. Overall cost and viewing area limitations, however, inhibit the market share of such devices, rendering their market acceptance marginal.A simple and inexpensive alternative are anaglyphs. Anaglyphs are artificial color images in which one color component represents one of two stereoscopic images and one or two other components represent the second stereoscopic image. For viewing anaglyphs, special red-blue or red-green glasses are needed. Anaglyph based 3D projection is considered the lowest cost stereoscopic projection technique. This method can be implemented on standard monitors without any modification.An important issue in the development of 3D visualization and visual communication methods is efficient coding of the data required for generation and display of stereoscopic images. It is well known that stereoscopic images are very redundant in their information content, however, it is much less known how substantial this redundancy is and how it can be used for efficient coding of stereoscopic images for storage and transmission. In this paper we address this problem from a visual communication perspective and experimentally investigate the tolerance of 3D stereoscopic vision to loss of resolution and color saturation of one of two stereoscopic images when regular high quality computer color displays are used to display images.Three sets of experiments are reported in the paper: (i) evaluation of the threshold of stereopsis to loss of resolution in one of two stereoscopic images due to low pass filtering, (ii) evaluation of the accuracy of visual measuring of parallax as function of the degree of image blur and (iii) tolerance of 3D color visual perception to reduced color saturation of one of two stereo images. For image blur, two methods were used: image blurring by means of an approximated ideal low pass filter and image blurring by means of low pass filters used in wavelet image decomposition. The latter was motivated by the fact that modern image compression techniques are based on wavelet transform domain coding.The paper is organized as follows. In Sect. 2 we discuss theoretical considerations that provide an estimate of the order of magnitude of the redundancy of stereoscopic images. In Sect. 3 we describe the experimental methodology and setup. In Sect. 4, experimental results obtained with image blurring are given. In Sect. 5, experimental results on color saturation threshold are provided. In the Conclusion, we summarize and discuss obtained results.2. Redundancy of stereoscopic images: qualitative evaluationOne can make an estimation of the redundancy of stereoscopic images using the following rationale.From the informational point of view, two images of the same scene that form a stereo pair are equivalent to one of the images and a depth map of the scene. Indeed, from two images of the stereo pair, one can build the depth map, and, vice-versa, one can build a stereopair from one image and the depth map. Therefore, the increase of the signal volume the second image of the stereo pair adds to that of one image is equal to the signal volume that corresponds to the depth map.The number of depth gradations resolved by vision is of the same order of magnitude as the number of resolved image gray levels. Therefore, signal volume increment due to the depth map is basically determined by the number of depth map independent samples.Every sample of the depth map can be found by localizing corresponding fragments of two images of the stereo pair and measuring parallax between them. All technical devices that measure depth from stereo work in this way, and it is only natural to assume the same mechanism for stereoscopic vision. The number of independent measurements of the depth map is obviously the ratio of the image area to the minimal area of the fragments of one image that can be reliably localized on another image. It is also obvious, that it is, generally, not possible to reliably localize one pixel of one image on another image. For reliable localization, image fragments should contain several pixels. Therefore, the number of independent samples of the depth map will be, correspondingly, several times lower than the number of image pixels, and the increment of the signal volume that corresponds to the depth map will be several times lower than the signal volume of one image. For instance, if the reliable size of the localized fragment is 2x2 pixels, it will be four times lower, for 3x3 fragments, it will be 9 times lower, and so on. Practical experience tells that, for reliable localization of fragments of one image on another image, the fragment size should usually exceed the area of 8x8 to 10x10 pixels.Therefore one can hypothesize that the signal volume increment associated with the depth map may amount to percents or even fractions of a percent of the signal volume of one image and that this limitation of the resolution of depth maps acquired from stereo images is true for any device for extraction of depth information from stereo images, including human stereoscopic vision. This rationale motivates experimental verification of this hypothesis. In what follows, we present experimental data in its support.3. Description of experiment methodology and general experimental setup.The experiments were aimed at evaluation, from a visual communication perspective, of 3D color vision tolerance to blur and to loss of color saturation of one of two stereoscopic images. They were conducted with artificial computer generated stereo images as well as with real life images. As the goal of the experiments was an evaluation of the vision tolerance to image distortions when regular high quality computer monitors were used for image display with no special adjustment for viewing conditions, standard (default) monitor settings of the monitor primaries and of the monitor calibrated tone reproduction curves were used. In the experiments, images were displayed on regular computer LCD and CRT high quality monitors for visual observation using either a stereoscope or anaglyphs. Specifically, LCD monitor ACER AL-2021 with resolution 1600x1200 pixels and CRT monitor MAG 786PF with resolution 1024x768 pixels were used. Observations were carried out in darkened rooms with viewing distance 40-60 cm, for CRT monitors, the white color temperature was set to 9300º Kelvin.As test images, the following images were used:- Grayscale random dots images (see an example in Fig. 1, a)- Grayscale random patches images (Fig. 1, b)- Grayscale texture images (Fig. 1, c, d )- Color random patches images (Fig. 1, e, f)- Real-life stereoscopic images (see an example in Fig. 1 g), h), right and left, respectively, for crossed eyes viewing)Computer generated test images were of spatial resolution of 512x512 pixels , real-life stereoscopic images were of the comparable size.For each of the test images except the real-life stereo ones, its artificial stereo pair was artificially synthesized using, as a depth map, impulses of square or round shapes of different dimensions (Fig. 2, a,b). Discrete sinc interpolation was used for image resampling needed forgenerating images with artificially introduced parallax ([5)].Fig. 3 shows examples of stereo images generated in this way.a) b)c) d)e) f)g) h)Fig. 1. Test images used in the experiments. Image h) exemplifies low pass filtering to 1/4 of the image base band.Note that when images g) and h) are fused using stereoscope or by crossed eyes, a 3-D sharp image can be seenF ig. 2. Depth maps used in the experimentsa) Right eye b) Left eye, low pass filtered to ¼ of thebase bandc)Fig. 3. Examples of computer generated random dot patterns used in the experiments: a), b) –right and left images for stereoscope or crossed eyes view, c) –anaglyph (left eye–red, righteye- blue). Right images exemplify low pass filtering to ¼ of the image baseband. Note that when images are fused using stereoscope or crossed eyes and, correspondingly, color red-blue glasses, a test circle 3-D target can be seen without visible losses of the image resolutionFor each particular experiment, the center of the impulse was randomly placed within the image area so as to exclude the viewer’s adaptation. In the experiments on the stereopsis threshold, the tested values of the depth map scale parameter that determines image parallax were randomly reshuffled for the same purpose. In addition, before displaying each next image, the display was kept blank for several seconds to secure the absence of a cross-talk between individual experiments.All experiments were carried out with several viewers. For each viewer and for each of the measured parameters, statistics were accumulated over several tens of realizations of random depth map impulse positions. The obtained data were statistically averaged using arithmetic mean and median averaging and standard deviation of the measured data was determined. In addition, time delay between the prompt to viewer to act and the viewer’s response was measured in all experiments in order to obtain supplementary data to the basic ones.4. Tolerance of 3D visual perception to image blurImage blur in both stereoscopic images is frequently regarded as a depth cue (see, for instance, [4]). In this paper, we consider influence on stereopsis of blur introduced to one of two stereoscopic images. Perhaps one of the first observations of the phenomenon of the tolerance of stereoscopic vision to blur of one of the stereo images was made by Bela Julesz [5], who however did not mention any quantitative measures of this phenomenon. The first experiments reported in the literature of decimation and subsequent interpolation of one of two stereoscopic images were described in [6]). Results obtained there are summarized in Fig.4 that shows the root mean squared error of parallax measurements on a training stereo air photograph analyzed by a professional human operator using a stereocomparator when one of the images was decimated with different decimation factors and then bilinearly interpolated back to the initial size. The data plotted in Fig. 4 were obtained by averaging of the parallax measuring errors over 31 randomly selected image fragments. Decimation and interpolation were carried out in a computer and the operator was working with computer-generated images of a good photographic quality. Decimation factor zero corresponds to data obtained for initialFig. 4 Root mean squared error ofparallax measurements (in mcm) as afunction of the decimation factor asmeasured on 31 randomly selectedfragments of a training stereo airphotograph analyzed by a professionalhuman operator.One can see from these data that 4x- and even 5x-decimation/interpolation of one of two images of a stereo pair do not dramatically increase the measurement error. With the increase of the decimation order, RMS error grows according to a parabolic law.These experiments showed also that, after 7x-decimation/interpolations, localization failures appear, and the probability of failures grows with further increase of the decimation factor very rapidly from probability of failures 5% at 7x-decimation to 21% at 8x-decimation. All this is in a good correspondence with the theory of localization accuracy of image correlators ([8]), although the data were obtained for a human operator.An extended series of experiments on human stereo vision tolerance to image blur is described in what follows. In these experiments, measured were stereopsis threshold and parallax measurement accuracy as functions of the degree of blur of one of the two stereo images.In the experiments on the stereopsis threshold, synthetic stereo images with different parallax were displayed for viewers who were requested to detect a 3D target by indicating its position using computer generated cross cursor. Computer program registered the correct detection if the cursor was placed within the target object. For each degree of blur, from no blur to maximal blur, the target in form of a circle was randomly placed within the image and its parallax was changed from low to higher values until viewer detects the 3D target after which a new session with another blur started. Both random dot and texture test images were used in the experiments.In the experiments on the accuracy of parallax measurement, a test target with a moderate parallax was randomly placed within the image and the viewers were requested to place a computer generated cross mark to the center of the target as soon as it was detected. Coordinates of the mark were compared by the computer program with actual coordinates of the target and the localization error was calculated. Each measurement was repeated, for the same image blur, several tens of times for statistical estimation of the localization error mean value and standard deviation that were used to characterize the parallax measurement accuracy. Note that parallax values in these experiments were taken to be higher than the threshold values found in the previous experiments. This was done because in localization accuracy experiments it is necessary to see the 3D stimulus clearly.As it was already mentioned, two methods of image blur were used: approximated ideal low pass filter, and blurring using low pass filters used in wavelet image decomposition.Approximated low pass filters were implemented in the domain of Discrete Fourier Transform. In order to avoid image oscillations caused by sharp cut-off of the ideal low pass filter, the rectangular frequency response of the ideal low pass filter was smoothed to make the filter cut-off less sharp. The filters were specified by the fraction, from 1 to 0.1 with a step of 0.1, of image bandwidth it passes through. Wavelet low pass filters were specified by the type of the wavelet used and by the resolution level with the resolution level 1 corresponding to the original image resolution and the resolution level n corresponding to resolution 2-(n-1)–th of the original resolution. In both cases, the degree of blur specified either by filter bandwidth or wavelet decomposition resolution level can be directly translated into the reduction of the number of samples required to generate the blurred image.In addition to the detection threshold and localization error, time delay between prompting viewers to respond and their response was also measured in all experiments.Typical results of the experiments are summarized in Figs. 5-7.Both detection threshold and standard deviation of the localization error in these figures as well as the depth values indicated in Figs. 6 and 7 are given in terms of the parallax values introduced for test object, the values being measured in units of inter-pixel distance, such that threshold or error equal to 1 correspond to the parallax in one sampling interval.Figs. 5 a,b, represent data obtained in experiments on stereopsis threshold for two test images, random dots and color random patches carried out with image blurring using an approximated low pass filter.The blur factor in these graphs indicates the fraction of the image base band left by the low pass filter: blur factor one corresponds to no low pass filtering, blur factor two corresponds to low pass filtering to half of the base band, three - low pass filtering to one third of the base band, and so on. For random dots test image, the results of 10 experiments for one viewer and their mean and median are shown to illustrate the typical data spread in experiments with one viewer. For random patches image, average data for 3 viewers are shown along with their mean and median to illustrate spread of averaged data for several viewers. Figs. 5, c), d) represent stereopsis threshold data obtained for random dot test image using for image blur Haar and Daubechis-1 wavelet low pass filters, correspondingly. In these figures, “Scale index” specifies the scale in wavelet multi-resolution decomposition: scale index one corresponds to the initial resolution, scale index twocorresponds to half of the initial resolution, scale index three corresponds to quarter of the initial resolution, four – to one eight of the initial resolution, and so on.Fig. 6 represents results of evaluating 3D target localization accuracy obtained, using approximated low pass filter, for different test images, different target depth and stereoscope and anaglyph methods of image display, data obtained for stereoscope and for anaglyph as the viewing device are shown in the left column and in the right column of the figure, correspondingly.Fig.5. Stereopsis threshold as a function of image blur: a) test image “random dots”, case “ideallow pass filter , 10 experiments (dots) with one viewer and data average (red) and median (blue);b) - test image “Color random patches”, case “low pass filter, 3 viewers (dots) and data average(red) and median (blue); c) - test image “random dots”, “Haar” wavelet low pass filter”; d) - testimage “random dots”, “Daubechis -1 wavelet low pass filter. In d) and c), blue curves representmean values of stereopsis threshold measurements and green curves represents standard deviationof the measurementsFig. 6, a-b. Mean square of 3D target localization error as a function of image blur usingapproximated low pass filterFig. 6, e-f. Mean square of 3D target localization error as a function of image blur usingapproximated low pass filter as a function of image blur using the approximated low pass filter.Fig. 7 represents the threshold data obtained for random dots test image using Daubechis-1 wavelet low pass filters and with anaglyph method of image display.Fig 7. Mean square of 3D target localization error as a function of image blur using Daubechis-1 wavelet low pass filter, depth = 4: a) – all data; b) – data for the first three scales5. Tolerance of 3D color vision to loss of color saturationExperiments with color saturation were aimed at the determination of the threshold in loss of color saturation of one of two stereo images for which color degradations are not visible when stereo images are viewed. In experiments, R, G, and B color components of one of two stereoscopic images were modified in the following way:()RGBRgRGBR−+=mod , ()RGBGgRGBG−+=mod, (RGBBgRGBB−+=mod.wheremodR,modG andmodB are modified color components,()3BGRRGB++=and 10÷=g is a color saturation parameter. When g=1, the image is unchanged; when=g, the color image is converted to a single component black and white one. Fig. 8 shows an example of color stereo images with one image of low saturation.Left image Right image; saturation 0.3 Fig. 8.An example of color stereo images with one image of low saturation.In the experiments two pairs of color stereoscopic images were simultaneously presented to the viewers for visual comparison: full color original stereoscopic images and stereoscopic images in which one of the images was subjected to color saturation with a certain saturation parameter. The experiments were aimed at determination of threshold values of visual detection of color loss of one pair of stereoscopic images as compared to the reference pair when saturation factor was gradually reduced from 1 to the level at which the viewer detects the losses and then from this level back to one till the viewer again acknowledges identity of the two pair of images. The results obtained with 5 viewers for computer generated and real life test images are presented in Fig. 9.Fig. 9. Results on color saturation (left: random patches image, Fig. 1, f; right: real life image,Fig. 1, g,h)6. Discussion and conclusionThe data obtained in the reported experiments with different test images and different viewers were reasonably consistent and stable. They definitely show that stereo images do have very substantial redundancy that can be easily exploited in the design of 3D visual communication system. Specifically, the following results can be formulated.• Stereoscope and anaglyph data for both stereopsis threshold and accuracy are practically identical which means that these two methods of 3D image visualization are equivalent in terms of 3D visual quality they provide.• Both threshold and target localization accuracy do not substantially suffer from blur of one of two images up to the blur that corresponds to 5x5 to 7x7 times reduction inthe number of pixels of one of two stereo images. For blur factor larger then 1/8-1/10, rapid growth of the stereopsis threshold and of the localization accuracy was observed. These results are consistent with the theory of target location ([5,8]).• 3D target localization accuracy grows with the target depth, which one also would expect from the point of view of the target localization theory.• For both, stereopsis threshold and 3D target localization accuracy an interesting phenomenon of improvement visual performance with blur of one of two images wasvery frequently observed. In the cases where improvement in threshold level or in the localization accuracy was not observed, it was observed as a decrease in the timedelay between the prompt for viewer to respond and the viewer’s response. This phenomenon does not seem paradoxical or contradictory to the theory of target location. It may have rational explanations. One of possible explanations is that, in stereopsis, one of two eyes is “leading” and provides the brain with a sharp imagewhile the other serves solely for measuring the parallax for 3D perception. Moderateblur of one of the two images eases for the brain selection of the “leading” eye.• Losses of color in one of two color stereoscopic images are not visually perceived for saturation as low as 0.5 – 0.7.In conclusion, note that the reported experiments were not directly aimed at studying of mechanisms of human 3D and color visual perception. However, the authors believe that they cast additional light on the problem and motivate further research and dedicated experiments. AcknowledgementWe would like to thank Prof. M. J. Yzuel for useful discussions. This work has been partially financed by Ministerio de Ciencia y Tecnología, under project BFM2003-006273-C02-01, and by the European Community project CTB556-01-4175. Manuel Espinola acknowledges the grant received by this European project. L. Yaroslavsky acknowledges the grant SAB2003-0053 by the Spainish Ministry of Education, Culture and Sport. I. Ideses acknowledges the PhD fellowship of Tel-Aviv University.。