The Thin Black Line of Heroes

2001 ◽  
Vol 65 (4) ◽  
pp. 1067
Author(s):  
Bruce Vandervort ◽  
Joe Lunn ◽  
David Killingray ◽  
David Omissi ◽  
Melvin E. Page ◽  
...  
Keyword(s):  
Black Line ◽  
Thin Black Line

Suprathreshold Stereo-Depth Matches as a Function of Contrast and Spatial Frequency

Perception ◽  
1986 ◽  
Vol 15 (3) ◽  
pp. 249-258 ◽  
Author(s):  
Clifton M Schor ◽  
Peter A Howarth
Keyword(s):  
Spatial Frequency ◽  
Depth Perception ◽  
Low Frequency ◽  
Stereoscopic Depth ◽  
Apparent Depth ◽  
Black Line ◽  
Low Contrast ◽  
Spatial Frequencies ◽  
Vertical Bars ◽  
Thin Black Line

Thresholds for stereoscopic-depth perception increase with decreasing spatial frequency below 2.5 cycles deg−1. Despite this variation of stereo threshold, suprathreshold stereoscopic-depth perception is independent of spatial frequency down to 0.5 cycle deg-1. Below this frequency the perceived depth of crossed disparities is less than that stimulated by higher spatial frequencies which subtend the same disparities. We have investigated the effects of contrast fading upon this breakdown of stereo-depth invariance at low spatial frequencies. Suprathreshold stereopsis was investigated with spatially filtered vertical bars (difference of Gaussian luminance distribution, or DOG functions) tuned narrowly over a broad range of spatial frequencies (0.15–9.6 cycles deg−1). Disparity subtended by variable width DOGs whose physical contrast ranged from 10–100% was adjusted to match the perceived depth of a standard suprathreshold disparity (5 min visual angle) subtended by a thin black line. Greater amounts of crossed disparity were required to match broad than narrow DOGs to the apparent depth of the standard black line. The matched disparity was greater at low than at high contrast levels. When perceived contrast of all the DOGs was matched to standard contrasts ranging from 5–72%, disparity for depth matches became similar for narrow and broad DOGs. 200 ms pulsed presentations of DOGs with equal perceived contrast further reduced the disparity of low-contrast broad DOGs needed to match the standard depth. A perceived-depth bias in the uncrossed direction at low spatial frequencies was noted in these experiments. This was most pronounced for low-contrast low-spatial-frequency targets, which actually needed crossed disparities to make a depth match to an uncrossed standard. This bias was investigated further by making depth matches to a zero-disparity standard (ie the apparent fronto-parallel plane). Broad DOGs, which are composed of low spatial frequencies, were perceived behind the fixation plane when they actually subtended zero disparity. The magnitude of this low-frequency depth bias increased as contrast was reduced. The distal depth bias was also perceived monocularly, however, it was always greater when viewed binocularly. This investigation indicates that contrast fading of low-spatial-frequency stimuli changes their perceived depth and enhances a depth bias in the uncrossed direction. The depth bias has both a monocular and a binocular component.

The Sound of Old Media

2011 ◽  
Vol 10 (2) ◽  
pp. 251-254
Author(s):  
Seongah Shin
Keyword(s):  
Visual Arts ◽  
Digital Technologies ◽  
Poor Quality ◽  
Experimental Film ◽  
Traditional Media ◽  
Black Line ◽  
The Media ◽  
Thin Black Line ◽  
Film Sound

In the field of hand-made film, sound and music are a limited part of the media due to the character of the medium; there are only a few sound tracks with poor quality. Hand-made film may be considered ‘old media’ or ‘traditional media’ that are not as popular today due to the spread of digital technologies. However, the limited character of this medium and the low quality of the sound tracks become a very attractive and creative limitation for the author’s recent works. She discusses two recent works for experimental film and sound, The Thin Black Line (2007) and flowing_water (2008) which explore how the limitation of media allows expansion of the sonic and visual arts.

“The Burial and Unburial of Women”: Thin Black Line(s) and Tracing “Moments and Connections” in Black British Women’s Art Histories

2015 ◽  
Vol 2 (2) ◽  
Author(s):  
Celeste-Marie Bernier
Keyword(s):  
Art World ◽  
Art Making ◽  
Black Line ◽  
British Art ◽  
Black British ◽  
Exhibition Space ◽  
Women's Art ◽  
The Social ◽  
History Of ◽  
Thin Black Line

As an artist who refuses categorically to shy away from both the “history of slavery” and the “contemporary grievances” arising from a white-dominated British art world, Lubaina Himid created a curatorial tour de force with her Thin Black Line(s) exhibition, on display at Tate Britain in 2011–2012. She adopted an array of signifying practices designed to riff off, reclaim, and revise the ideological biases and racialized blind spots of the Tate as a national institution. Himid’s long history of exhibiting Black British women’s work reflects her determination to fight against their “collective invisibility in the art world” as they “engaged with the social, cultural, political and aesthetic issues of the time” by undertaking a “conceptual reframing of the image of black and Asian women themselves.” Working with the spatial constraints of just one room in which to exhibit a decades-long history of Black British women artists and art making, Himid also had to rely upon numerous strategies to confront the obstacles presented by the Tate’s decision to mount Thin Black Line(s) not as a full-scale exhibition but as an “in-focus display.” This meant that it was not given as extensive a budget or as large an exhibition space as the Tate exhibitions appearing as part of their regular programming, and also not accorded the same levels of marketing, advertising, and scholarly attention. Himid set about solving these problems by engaging in diverse extra-curatorial practices and also by contesting and critiquing these limitations within the space itself. Himid’s self-reflexive strategies became a form of “guerrilla curating” as she engaged in a multitude of methods designed to critique, interrogate, and displace—if not outright reject—the challenges presented by the ideologically confining and tokenizing framing of the Tate as an exhibition space.

Shape Constancy in Pictorial Relief

Perception ◽  
1996 ◽  
Vol 25 (2) ◽  
pp. 155-164 ◽  
Author(s):  
Jan J Koenderink ◽  
Andrea J van Doorn ◽  
Chris Christou ◽  
Joseph S Lappin
Keyword(s):  
Three Dimensional ◽  
Full Scale ◽  
Natural Setting ◽  
Black Line ◽  
Small Deviations ◽  
Shape Constancy ◽  
Visual Contour ◽  
Opposite Sequence ◽  
Thin Black Line ◽  
Cue Conflict

Pictorial relief was measured for a series of pictures of a smooth solid object. The scene was geometrically identical (ie the perspective of the three-dimensional scene remained the same) for all pictures, the rendering different. Some of the pictures were monochrome full-scale photographs taken under different illumination of the scene. Also included were a silhouette (uniform black on uniform white) and a ‘cartoon’-style rendering (visual contour and key linear features rendered in thin black line on a uniform white ground). Two subjects were naive and started with the silhouette, saw the cartoon next, and finally the full-scale photographs. Another subject had seen the object and did the experiment in the opposite sequence. The silhouette rendering is impoverished, but has considerable relief with much of the basic shape. The cartoon rendering yields well-developed pictorial relief, even for the naive subjects. Shading adds only small local details, but different illumination produces significant alterations of relief. It is concluded that shape constancy under changes in illumination is dominant throughout, but that the (small) deviations from true constancy reveal the effect of cues such as shading in a natural setting. Such a ‘perturbation analysis’ appears more promising than either stimulus-reduction or cue-conflict paradigms.

The use of L-DOPA to enhance visualization of the "black line" between species of the Armillaria mellea complex

1989 ◽  
Vol 67 (1) ◽  
pp. 15-17 ◽  
Author(s):  
A. A. Hopkin ◽  
K. I. Mallett ◽  
P. V. Blenis
Keyword(s):  
Black Line ◽  
Similar Treatment ◽  
Complex Species ◽  
Armillaria Mellea

The zone of antagonism, known as the "black line," that occurred between the confronting margins of diploid isolates of different Armillaria mellea complex species was enhanced by incubation in L-β-3,4-dihydroxyphenylalanine (L-DOPA). Intraspecific crosses and crosses of genetically identical isolates did not produce a black line after similar treatment with L-DOPA.

scholarly journals Diseño e implementación de un algoritmo para translación de protocolo entre las normas IEC60870-5-104 y MODBUS TCP/IP

2015 ◽  
Vol 16 (32) ◽  
pp. 102
Author(s):  
John Henry Feria Briceño
Keyword(s):  
Font Size ◽  
Black Line

<p style="margin: 0cm 0cm 0pt; text-align: justify; line-height: 150%;"><span style="color: black; line-height: 150%; font-family: 'Arial','sans-serif'; font-size: 12pt; mso-bidi-font-weight: bold;">Este artículo muestra los resultados del proceso de diseño, implementación y prueba de un algoritmo para hacer la translación de protocolo entre las normas IEC 60870-5-104 y MODBUS TCP/IP, éste modelo de algoritmos son de amplio uso en los procesos de supervisión y automatización en sub-estaciones eléctricas.</span></p>

scholarly journals Heterosis in the second and third generation affects litter size in a crossbreed mink (Neovison vison) population

2014 ◽  
Vol 66 (3) ◽  
pp. 1097-1103 ◽  
Author(s):  
Janne Thirstrup ◽  
Cino Pertoldi ◽  
Peter Larsen ◽  
Vivi Nielsen
Keyword(s):  
Litter Size ◽  
Maternal Effects ◽  
Inbreeding Depression ◽  
Neovison Vison ◽  
Parental Line ◽  
Third Generation ◽  
Black Line ◽  
Environmental Variations ◽  
The Mean ◽  
One Year

Litter sizes in a cross between Brown and Black mink color types were observed through six generations. Litter size was significantly affected by yearly environmental variations. After adjusting for year effects, we found significant increases in litter size in the second and third generations (F2 and F3) after crossing. Thereafter, in the following generations, litter size dropped to a level comparable to the mean litter size of the midparent. Increased litter size in F2 compared to F1 indicated that maternal effects influenced litter size more than non-maternal effects. The heterosis was mainly caused by an increase in litter size compared to the Black parental line. This indicates that the Black line was affected by inbreeding depression prior to crossing. We also found that two-year old F1 females had significantly more offspring compared to one-year old F1 females.

Revision of the milliped family Paeromopodidae, and elevation of the Aprosphylosomatinae to family status (Julida: Paeromopodoidea)

1994 ◽  
Vol 25 (2) ◽  
pp. 169-214 ◽  
Author(s):  
Rowland M. Shelley
Keyword(s):  
Sierra Nevada ◽  
Puget Sound ◽  
The Other ◽  
Western United States ◽  
Family Status ◽  
Black Line ◽  
Sierra Nevada Mountains ◽  
Flathead Lake ◽  
The Family ◽  
Monterey Peninsula

AbstractThe family Paeromopodidae is comprised of large, agile millipeds that include the longest diplopods in the Nearctic. It is endemic to three regions in the western United States - a large, irregular area extending from the southern Sierra Nevada Mountains and the Monterey Peninsula of California to the northern Puget Sound region of Washington, a small, ovoid area in the Warner Mountains of northeastern California and the adjacent fringes of Oregon and Nevada, and an area in the northwestern interior extending from the Wallowa Mountains of northeastern Oregon to Flathead Lake, Montana. Representatives have flat, plate-like gonopods that represent the coxites; the flagellum is absent from the anterior gonopods and the telopodite is lost from both gonopod pairs. The family includes two genera: Paeromopus Karsch, with five species - angusticeps (Wood), eldoradus, cavicolens, and buttensis, all by Chamberlin, and ocellatus Loomis - and Californiulus Verhoeff, with five species - chamberlini (Brolemann), comb. n., dorsovittatus Verhoeff, yosemitensis Chamberlin, euphanus (Chamberlin), and parvior (Chamberlin). The principal taxonomic features involve the configurations of the distal and midlength projections of the anterior gonopods and the terminal or subterminal projections of the posterior genitalia. Californiulus chamberlini, dorsovittatus, and yosemitensis display broad, yellow, middorsal stripes, the last also with a median black line, and the other species exhibit light or dark transverse bands. The following new synonymies are proposed: P. lysiopetalinus Karsch and pistus Chamberlin, and Paeromopellus sphinx Verhoeff, under P. angusticeps; Klansolus zantus Chamberlin under C. chamberlini; C. vicinus Chamberlin under C. dorsovittatus; K. mononus and obscurans, both by Chamberlin, under C. yosemitensis; and K. socius and Aigon rodocki, both by Chamberlin, under C. parvior. The monobasic subfamily Aprosphylosomatinae, accommodating Aprosphylosoma Hoffman, is elevated to family status in the superfamily Paeromopodoidea. Its sole species, A. darceneae Hoffman, known only from Oregon, is smallbodied, dark mottled brown in color, and has a separate coxite and telopodite on the anterior gonopod.

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