SLAM (Simultaneous Localization and Mapping) and Odometry are important systems for estimating the position of mobile devices, such as robots and cars, utilizing one or more sensors. Particularly in camera-based SLAM or Odometry, effectively tracking visual features is important as it significantly impacts system performance. In this paper, we propose a method that leverages deep learning to robustly track visual features in monocular camera images. This method operates reliably even in textureless environments and situations with rapid lighting changes. Additionally, we evaluate the performance of our proposed method by integrating it into VINS-Fusion (Monocular-Inertial), a commonly used Visual-Inertial Odometry (VIO) system.
Leonard Nürnberg, Dennis Bontempi, Suraj Pai
et al.
Artificial intelligence (AI) has the potential to transform medical imaging by automating image analysis and accelerating clinical research. However, research and clinical use are limited by the wide variety of AI implementations and architectures, inconsistent documentation, and reproducibility issues. Here, we introduce MHub$.$ai, an open-source, container-based platform that standardizes access to AI models with minimal configuration, promoting accessibility and reproducibility in medical imaging. MHub$.$ai packages models from peer-reviewed publications into standardized containers that support direct processing of DICOM and other formats, provide a unified application interface, and embed structured metadata. Each model is accompanied by publicly available reference data that can be used to confirm model operation. MHub$.$ai includes an initial set of state-of-the-art segmentation, prediction, and feature extraction models for different modalities. The modular framework enables adaptation of any model and supports community contributions. We demonstrate the utility of the platform in a clinical use case through comparative evaluation of lung segmentation models. To further strengthen transparency and reproducibility, we publicly release the generated segmentations and evaluation metrics and provide interactive dashboards that allow readers to inspect individual cases and reproduce or extend our analysis. By simplifying model use, MHub$.$ai enables side-by-side benchmarking with identical execution commands and standardized outputs, and lowers the barrier to clinical translation.
This article examines Turkish director Zeki Demirkubuz’s Hayat (2023) and the influence of Fyodor Dostoevsky and Albert Camus on the film’s narrative and characters. The central research question concerns how the intellectual worlds of these two writers shaped the construction of Hayat’s story and protagonists. Demirkubuz’s primary aim in Hayat is to portray, in practical terms, the typical features of characters living through an existential crisis and to indicate the possible paths toward its resolution. Both Dostoevsky and Camus devote significant attention to the basic and shared manifestations of existential crisis, but they differ on the question of overcoming this crisis. In Hayat, Demirkubuz thematizes the Dostoevskian resolution while also incorporating Camus’s conception of the absurd character. Viewed in this light, the director constructs a unique world of meaning; accordingly, he can be evaluated as an auteur in the sense of a meaning creator. This is the article’s working hypothesis. To substantiate this claim, the article first outlines the intellectual frameworks of Dostoevsky and Camus and then subsequently analyzes Hayat’s narrative and characters in relation to them.
Los campus universitarios son equipamientos determinantes en la movilidad urbana, debido al alto volumen de desplazamientos que generan. Este artículo de investigación analiza los discursos predominantes sobre la movilidad de una comunidad universitaria, con el objetivo es comprender las actitudes, percepciones, concepciones y prejuicios, con respecto a los modos de transporte, independientemente del modo utilizado. Para ello, se aplicó el método Q, un enfoque mixto de análisis cualitativo y cuantitativo que involucra el uso de afirmaciones y análisis factorial. Participaron 36 individuos, entre estudiantes, profesores y personal administrativo. Los resultados revelaron cuatro discursos predominantes: a) el partidario de modos motorizados públicos o privados, b) el defensor de la movilidad activa, c) el crítico del transporte público, y d) el que valora el automóvil privado por seguridad y comodidad. Los discursos encontrados indican la necesidad de políticas y estrategias que se concentren no solo en mejorar la infraestructura para los modos más sostenibles, sino en incidir en la percepción de sus beneficios personales, ambientales y económicos.
Linda Manuela Piardi, Ana López-Montes, María Elena Díez- Jorge
El contexto de este artículo es la ciudad de Turín en la primera mitad del siglo XIX, capital del Reino de Cerdeña y, posteriormente, primera capital de la joven nación, escenario en el que emerge una actividad artística femenina bastante intensa, atestiguada sobre todo por los catálogos de las exposiciones, por el periodismo de la época y confirmada por la investigación en archivos y colecciones.Entre las experiencias artísticas y biográficas femeninas más significativas, emerge la de una pintora, Ottavia Borghese, condesa Masino di Mombello, Académica de San Luca en Roma, hija y discípula de Giuseppina Quaglia Borghese, hermana de la “Compagnia di San Luca” de Turín.Este artículo esboza su perfil biográfico-artístico y pone de manifiesto su actividad, aún desconocida, gracias al hallazgo de pinturas y dibujos conservados en museos y colecciones privadas y siguiendo las huellas del material epistolar que han permitido devolver algunas obras a la autora legítima, allanando el camino para futuros estudios.
Binesh Sarwar, Arslan Sarwar, Waleed Mugahed Al-Rahmi
et al.
This study presents a research framework based on the underlying richness of social media capacity (usefulness) at the individual level of youngsters regarding their contribution to building social capital and civic engagement, which significantly leads towards better social outcomes. Using structural equation modeling (SEM) technique, analysis of model accorded an examination of the impact of social media use for literacy and socialization on the perceived value in terms of social capital and civic engagement; resulting in greater cognitive and social well-being of young participants. By considering the social facets of social media technology, which can also mainly influence the value developed from the online social network, the authors also examined the moderating role of individual social technology fit in the fitting paradigms. The results support all proposed hypotheses in the model except one. This study concludes that social media tools as an interactive and productive mechanism can progressively enhance youth participation in public affairs for overall cognitive and social well-being. The positive sense of involvement is more satisfied by having an appropriate fit between individuals’ social needs and social technology.
Este trabajo presenta el análisis de un conjunto de piezas cerámicas en miniatura que permanecía inédito. Ellas fueron adquiridas por Debenedetti a artesanos de Tupiza, Bolivia, durante sus trabajos de campo a comienzos del s. XX.
En primer lugar se revisaron diversos conceptos vinculados a las miniaturas en el mundo andino así como su catalogación como mestizas, clasificación con que se asentaron en los libros del Museo Etnográfico de la Facultad de Filosofía y Letras de la Universidad de Buenos Aires en 1918. Esto último es importante en términos de su contexto de producción dentro de los procesos sociales desencadenados como consecuencia de la consolidación de los Estados Nación en la región del sur de Bolivia y el Noroeste Argentino, entre fines del s. XIX y comienzos del s. XX.
A partir de ello y de la caracterización del conjunto de piezas, se plantean reflexiones que abonan primeramente a una hipótesis, previamente manejada por distintos investigadores, que permite vincular a las miniaturas, patrimonio material andino, con un patrimonio inmaterial que engloba, alternativa o conjuntamente, a las ideas de bienestar, fecundidad y/o abundancia. Asimismo, se sostiene que a lo largo de la historia andina esto fue posible con continuidades y discontinuidades relacionadas con algunas modificaciones, en este caso formales y estilísticas.
En este artículo se analiza el trabajo con la mano desnuda desarrollado por Mane Bernardo y Sarah Bianchi y que derivó en la conformación de la técnica denominada pantomima de manos. Se examinarán los límites de la definición tradicional de títere y las prácticas que engloba junto con la noción de experimentación propuesta por Bernardo, marcada por las tensiones entre tradición y modernidad. Con ello se busca ubicar esta experiencia entre aquellas que contribuyeron a la modernización del teatro de títeres en Argentina.
Tacita Dean’s art relies on the perception of liminalities, of moving in-between, of one medium unfolding into another through dispersed, “molecular” sensations, either subverting or augmenting impressions of art forms perceived on the level of larger, structural wholes. Arguing against the wide-angle perspective employed by media studies approaches and for a close-up analysis of an “affective intermediality” in Tacita Dean’s art, the author looks at the landmark exhibitions at the National Gallery, the National Portrait Gallery, and the Royal Academy in London organised in 2018. The article singles out some of the individual works in the context of the exhibition as a work of art, and focuses on questions like the cross-media phenomenon of the “cinematic”, the affective performativity of the various <i>dispositifs</i> employed in her installations of celluloid films, the affordances of Dean’s signature aperture-gate masking technique, as well as the relation between narrative cinema experienced in a theatrical space and film as the medium of a visual artist. The essay concludes with a brief analysis of her gallery film, <i>Antigone</i> (2018), unravelling an allegorical journey through cosmic time and atmospheric landscapes, viewed as an ode to the “blind vision” of photochemical film and as a synthesis of key features of her intermediality conceived as a strategy for the re-sensitization of mediums by approaching one art from the point of view of another.
Dailės kūrinių interpretacijos metodologijai ir teorinėms priei goms skirtame straipsnyje svarstoma, kaip remiantis šiuolaikine materia listine filosofija, pirmiausia – Bruno Latouro ir Donnos J. Haraway teo rijomis, plėtoti įžemintą ir spekuliatyvią kontekstinės interpretacijos versiją. Haraway situatyvaus žinojimo paradigmoje dailės kūrinys būtų simpoetinis bendrininkas, kompanionas, įgalintas kartu mąstyti, kelti ne rimą, jungtis į dalinio, įkūnyto ir įvietinto žinojimo tinklus, gedėti, ugdyti atsako galią. Jis ne iliustruoja, o siūlo istorijas, taip pat ir dailės istorijos pasakojimus. Kartais ir ne naujausi dailės kūriniai padeda kartu mąstyti ir Haraway nusakyta prasme – apie rūšių bendrabūvį chtulucene, įvairių padarų giminystę. Aptarus diskursyvias kūrinių emancipacijos, į(si)tinkli nimo ir veikmės sąlygas, antroje straipsnio dalyje nagrinėjamas Antano Gudaičio kūrybos atvejis.
La Paz, la capital más alta del mundo (1948) y Donde nació un imperio (1949) suponen las dos (2) películas fundacionales de Bolivia Films Ltd., donde se rastrean elementos cinematográficos y visuales que permitirán comprender el cine moderno en Bolivia. Bolivia Films Ltd. a la cabeza de K. Wasson; conjuntamente Jorge Ruiz y Augusto Roca iniciarán el primer proyecto de profesionalización de cineastas en Bolivia y explorarán temas y formas desde esta casa productora. Así, se convierte en germen de los códigos cinematográficos visuales que imprimirá la Revolución Nacional desde su aparato de propaganda: el Instituto Cinematográfico Boliviano.
Ensemble practices have been essential to the performing and visual fine arts over centuries. The skills of working in ensembles, including team work and collaborative learning, are increasingly understood to be critical and transferable professional attributes. However, much teaching of ensembles is practical and embodied, relying on tacit knowledge within a focused specialism. This kind of approach champions depth of expertise in a particular field, but may have limitations, particularly where more explicit awareness is needed to support transferring practical skills to new contexts. There is therefore a need to strengthen reflective practice in ways that connect explicit procedural understanding with tacit practical experience. To serve this purpose, this paper develops a reflective matrix as a framework to support dynamic reflection for students and teachers in higher arts education. The matrix emerges from analysis of the literature across music, theatre, dance and visual fine art.
Within the literature on creativity in the arts, some authors have focused on the description of the artistic process (Patrick, 1937; Getzels and Csikszentmihalyi, 1976; Mace and Ward, 2002; Yokochi and Okada, 2005) whereas others have focused on the creative process (Wallas, 1926; Osborn, 1953/1963; Runco and Dow, 1999; Howard et al., 2008). These two types of processes may be, however, somewhat distinct from each other because the creative process is not always dedicated to artistic creation, and productive work in the arts may not always involve creativity, in terms of specifically original thinking. Our goal is to identify the specific nature of the artistic creative process, to determine what are the basic stages of this kind of process. This description can then be integrated in a Creative process Report Diary (CRD; Botella et al., 2017) which allows self-observations in situ when participants are creating.
R. Chamberlain, Jennifer E. Drake, Aaron Kozbelt
et al.
The question of whether and how visual artists see the world differently than nonartists has long engaged researchers and scholars in the arts, sciences, and humanities. Yet as evidence regarding this issue accumulates, it has become clear that the answers to these questions are by no means straightforward. With a view to advancing ongoing debate in this field, the current study aimed to replicate and extend previous research by exploring the differences in visual-spatial ability between art students (n = 42) and nonart students (n = 37), using a comprehensive battery of visual-spatial and drawing tasks. Art students outperformed nonart students on drawing measures and some (but not all) visual-spatial tasks. This nuanced pattern of results broadly supports the notion that art students differ from nonart students in their ability to exert top-down control over attentional processing, but not in the phenomenology of low-level visual processing. Implications for theories of artistic expertise are discussed.