Visual Rhythm-Based Method for Continuous Plankton Monitoring

2013 ◽  
Author(s):  
Damian J. Matuszewski ◽  
Rubens M. Lopes ◽  
Roberto M. Cesar
Keyword(s):  
Visual Rhythm

scholarly journals Effect of Tempo on Temporal Expectation Driven by Rhythms in Dual-Task Performance

2021 ◽  
Vol 12 ◽  
Author(s):  
Zhihan Xu ◽  
Yanna Ren ◽  
Yosuke Misaki ◽  
Qiong Wu ◽  
Sa Lu
Keyword(s):  
Dual Task ◽  
Research Question ◽  
Automatic Processing ◽  
Single Task ◽  
Temporal Expectation ◽  
Controlled Processing ◽  
Visual Rhythm ◽  
Fast Tempo ◽  
Slow Tempo ◽  
Dual Task Interference

Temporal expectation is the ability to focus attention at a particular moment in time to optimize performance, which has been shown to be driven by regular rhythms. However, whether the rhythm-based temporal expectations rely upon automatic processing or require the involvement of controlled processing has not been clearly established. Furthermore, whether the mechanism is affected by tempo remains unknown. To investigate this research question, the present study used a dual-task procedure. In a single task, the participants were instructed to respond to a visual target preceded by a regular or an irregular visual rhythm under a fast (500 ms) or slow (3,500 ms) tempo. The dual-task simultaneously combined a working memory (WM) task. The results showed temporal expectation effects in which the participants responded faster to the regular than to the irregular conditions in a single task. Moreover, this effect persisted under dual-task interference in the fast tempo condition but was impaired in the slow tempo condition. These results revealed that rhythmic temporal expectation induced by fast tempo was dependent on automatic processing. However, compared with the faster tempo, temporal expectation driven by a slower tempo might involve more controlled processing.

Goleizovsky (Goleizovskii), Kas’ian Yaroslavich (1892–1970)

2018 ◽  
Author(s):  
Nicoletta Misler
Keyword(s):  
Early Childhood ◽  
Emotional Expression ◽  
Mutual Understanding ◽  
Sergei Prokofiev ◽  
Visual Artists ◽  
Avant Garde ◽  
Bodily Movement ◽  
Visual Rhythm ◽  
Music Lessons ◽  
Bolshoi Ballet

A Russo-Soviet choreographer, dancer, and artist, Kas’ian Goleizovsky was exposed to various art forms from early childhood: dance at the Bolshoi ballet school; fine and applied arts at Moscow’s Stroganov Institute; and music lessons with the celebrated violinist David Krein. This broad education enabled him to perceive dance in terms of line and color, to integrate costume and choreography, and to infuse visual rhythm, emotional expression, bodily movement, and musicality into his artistic explorations. His collaborations with avant-garde visual artists such as Petr Galadzhev, Anatolii Petritsky, and Boris Erdman, and with composers such as Boris Ber, Matvei Blanter, and Sergei Prokofiev were always distinguished by strong mutual understanding. A pre-postmodern choreographer, Goleizovsky moved among very different systems and types of dances, including classic, eccentric, variety, ballroom, and music hall.

scholarly journals Visual rhythm perception improves through auditory but not visual training

2015 ◽  
Vol 25 (2) ◽  
pp. R60-R61 ◽  
Author(s):  
Brandon Barakat ◽  
Aaron R. Seitz ◽  
Ladan Shams
Keyword(s):  
Rhythm Perception ◽  
Visual Training ◽  
Visual Rhythm

scholarly journals Aristophanes in Comic Books: Adaptation as Metabase

2017 ◽  
Vol 61 (3) ◽  
pp. 553-577 ◽  
Author(s):  
Dimitris Asimakoulas
Keyword(s):  
Comic Book ◽  
Translation Studies ◽  
Close Reading ◽  
Adaptation Studies ◽  
Visual Rhythm ◽  
Mise En Scene ◽  
Long Time ◽  
Book Format ◽  
Formal Properties ◽  
Shed Light

Translation studies researchers have for a long time critically engaged with the idea of translation being a mode of creative rewriting across media and cultural or temporal divides. Adaptation studies experts use a similar premise to study products, processes and reception of adaptations for specific locales. This article combines such perspectives in order to shed light on an under-researched area of comic adaptation: this is the metabase, or transfer, of Aristophanic comedies to the comic book format in Greek and their subsequent translation into English for an e-book edition (Metaichmio Publications 2012). The paper suggests a model for the close reading of creative transfer based on Lefèvre’s (2011; 2012) typology of formal properties of comics and Attardo’s (2002) General Theory of Verbal Humour. As is shown, visual rhythm and text-image relations create a rich environment for anachronism, parody, comic characterisation and ideological comments, all of which serve a condensed plot. The English translation rewrites cultural/ideological references, amplifies obscenity and emphasizes narrator visibility, always taking into consideration the mise en scène.

Fast Text Caption Localization on Video Using Visual Rhythm

2002 ◽  
pp. 259-268 ◽  
Author(s):  
Seong Soo Chun ◽  
Hyeokman Kim ◽  
Kim Jung-Rim ◽  
Sangwook Oh ◽  
Sanghoon Sull
Keyword(s):  
Visual Rhythm

Hussein, Ibrahim (1936–2009)

2018 ◽  
Author(s):  
Sarena Abdullah
Keyword(s):  
Heavy Line ◽  
Visual Rhythm ◽  
Personal Experiences ◽  
Line Work ◽  
Printing Techniques

Ibrahim Hussein is one of Malaysia’s most internationally recognized artists. His early works are known for their realistic figuration, the most prominent of which are Pak Utih (1970) and My Father & The Astronaut (1970). His works are influenced by Abstract Expressionsm, as apparent in his aerial views of semi-abstract figures, entangled and rolling in fluid. Noteworthy examples of this technique include Tumult (1969) and Lovers (1964). His later series Dance of Life (1982) and Red, Orange & Core (1984) feature heavy line work by graphic pens. These present an innate monumentality of interweaving fluid lines, engaging the viewer in a continuous journey of visual rhythm. Ibrahim Hussein also invented a technique called "Printage" which combines printing techniques and collage. This technique is exemplified in his pieces Are You Alone Up There? (1969), Pak Utih (1970), My Father (1972), and HariIni Kita Dewasa (1975). Hussein has a body of work that spans more than half a century. He has left an extraordinary legacy of paintings that revolve around his perceptions of life, humanity, his country, and his reflection of personal experiences throughout the years.

Visual Rhythm.

1917 ◽  
pp. 231-254 ◽  
Author(s):  
Christian A. Ruckmich
Keyword(s):  
Visual Rhythm
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