Objective Non-periodontal specialists (e.g., orthodontists and prosthodontists) often struggle to efficiently monitor periodontal health in the anterior esthetic zone. This study aimed to develop the Esthetic-zonal Non-invasive Periodontal Assessment Tool (ENPAT), a you look only once (YOLO)v8-based tool that screens oral health conditions and grades periodontal abnormalities from intraoral images. Methods From 3,608 frontal intraoral images, a lightweight YOLOv8 classification model produced unlabeled oral health grading (OHG, Fair/Acceptable/Poor) to pre-screen image labelability. For unit-level assessment, triangular gingival regions were annotated in 2,029 images for modified gingival index (MGI) and 1,847 images for papillae filling index (PFI). We trained YOLOv8s-seg and a GhostNet-modified variant (YOLOv8-Ghost) with five-fold cross-validation, using ResNet-50 as a baseline classifier. A retrospective real-world test set (MGI n = 156 and PFI n = 121) was used to assess generalization, while two junior dentists then graded the same set twice (with and without artificial intelligence (AI)) to analyze agreement (Cohen’s κ and weighted κ) with experts’ diagnosis and efficiency (ΔTime%). Results OHG achieved mean accuracy of 0.872. In cross-validation, YOLOv8 outperformed Ghost-YOLOv8 on PFI (macro-accuracy 0.927 vs. 0.920, F1-score 0.762 vs. 0.743, mAP@50 0.726 vs. 0.702; P ≤ 0.001), with smaller grade-specific gains on MGI (e.g., accuracy of MGI0 0.867 vs. 0.853, P = 0.017). Both YOLOv8 variants exceeded ResNet-50 on real-world set, while YOLOv8 showed the strongest overall PFI performance (accuracy 0.940, mAP@50 0.854, F1-score 0.838). YOLOv8-Ghost reduced complexity substantially (−44.2% params and −29.0% GFLOPs). With AI assistance, junior dentists’ diagnosis rose to satisfactory levels (weighted κ up to 0.799), and per-image evaluation time decreased by 18.10% for MGI and 22.79% for PFI (P < 0.05). Conclusion ENPAT delivers real-time, multi-class grading of periodontal conditions from routine intraoral photos. The standard YOLOv8s-seg model offers the best overall accuracy and sensitivity, while YOLOv8-Ghost provides a compelling lightweight alternative. These results support ENPAT’s potential to enhance periodontal screening and education for non-periodontal practitioners.
This essay analyses New York City freelancer Bettye Lane’s photographs of U.S. feminism and gay rights in the twentieth century’s last three decades. Her archive, housed at universities, public libraries, and lesbian collectives indicate her awareness of photojournalism’s role in documenting social movements, and in establishing a counterpublic across time and space in alternative spaces such as the Lesbian Herstory Archives and in mainstream institutions such as the Library of Congress. Lane’s photojournalistic aesthetic appeared traditional, but the essay argues she allowed her subjects to collaborate with her in imbuing the photographs with meaning. She contributed to a feminist counterpublic established with feminist audiences, and also a network of feminist editors, archivists, and non-profit leaders. This essay is based on photographs and papers archived at the Lesbian Herstory Archives, Duke University’s Rubenstein Library, and Harvard University’s Schlesinger Library.
<i>The Lisa and John Slideshow</i> is a theatrical response to my own earlier photographic project, <i>Pictures from the Real World. Colour Photographs, 1987–88</i>, interrogating recurring theoretical questions that challenge the discourse of social documentary photography through an expanded practice. As a significant piece of research, devised through participation with those depicted within the image, the forty-five-minute play questions representational methods through an alternate medium. The project evokes what else was knowable from the terrain of possibilities when the sovereign images of the former project were captured, as it reaches into photographs, opening contextual focus on the social, political and relational aspects of production. This paper is drawn from my Ph.D. thesis, <i>What the Subject Does. Lisa and John and Pictures from the Real World</i> submitted to the University of Sussex in December 2022. The question asked within this commentary is: How can unequal power relations within photographic representation of working-class communities be renegotiated through trans-media practice and the use of theatre?
The article Open World and Dispersed Narrative in FromSoftware’s “Elden Ring” tackles a number of design issues associated with open world design in video games. Building upon Tim Ingold’s dis- crepancy of two distinct modes of exploring the reality (wayfaring and trail-following), the author proceeds with analysing how the categories in question might have influenced the design of Elden Ring’s ‘The Lands Between’, which is torn between two different ambitions. One is to create a high fantasy narrative in allotopia, whilst the other is to sustain the principles of procedural rhetoric typical for soulsborne games, well-known for leaning towards a dark fantasy design style both in terms of their aesthetics and narrative content. Consequently, the main goal of this analysis is to propose a potential way of avoiding such inconsequence in open world game design, which is termed here a “ludotopian dissonance”.
There being innumerable photographic collections in anthropological institutions and in researchers’ private archives, the article aims to shed light on one singular dimension of French ethnology’s historical relationship with this medium. Besides the photographic documentary uses, which led to an intense production and accumulation of images from the late 19th century, several forms of visual exhibition were also used within the discipline. Drawing on the case of the Musée de l’Homme, the article seeks to emphasise the way photographs were used in ambitious exhibitions and their role in illustrated presentations. Observing and analysing these practices helps to understand the visual context anthropologists had to deal with, to define the potential uses of their images, as well as the cultural and visual systems of reference to which they adapted.
Saori Sakaguchi, Yuki Muraoka, Shin Kadomoto
et al.
Abstract The aim of this retrospective, observational study was to examine the intraretinal locations of ruptured retinal arterial macroaneurysms (RMAs) and investigate the associations with the visual prognosis. Fifty patients (50 eyes) with untreated RMA rupture who visited the Department of Ophthalmology at Kyoto University Hospital (April 2014–July 2019) were included. The intraretinal position of the ruptured RMAs relative to the affected retinal artery was examined using optical coherence tomography (OCT) and color fundus photography (CFP). The relative RMA positions were anterior to (anterior type, 44%), at the same level as (lateral type, 20%), or posterior to (posterior type, 34%) the affected artery. At the initial visit, the posterior type showed greater subretinal hemorrhage thickness than did the lateral and anterior types (P = 0.016 and 0.006, respectively), and poorer visual acuity (VA) than did the anterior type (P = 0.005). At the final visit, the length of the foveal ellipsoid zone band defect was longer (P = 0.005) and VA was poorer (P < 0.001) for the posterior type than for the anterior type. The intraretinal positions of ruptured RMAs vary, affect the thickness of foveal subretinal hemorrhage and predict future damage to the foveal photoreceptors. The visual prognosis may be poor for posteriorly ruptured RMAs.
Label assignment plays a significant role in modern object detection models. Detection models may yield totally different performances with different label assignment strategies. For anchor-based detection models, the IoU (Intersection over Union) threshold between the anchors and their corresponding ground truth bounding boxes is the key element since the positive samples and negative samples are divided by the IoU threshold. Early object detectors simply utilize the fixed threshold for all training samples, while recent detection algorithms focus on adaptive thresholds based on the distribution of the IoUs to the ground truth boxes. In this paper, we introduce a simple while effective approach to perform label assignment dynamically based on the training status with predictions. By introducing the predictions in label assignment, more high-quality samples with higher IoUs to the ground truth objects are selected as the positive samples, which could reduce the discrepancy between the classification scores and the IoU scores, and generate more high-quality boundary boxes. Our approach shows improvements in the performance of the detection models with the adaptive label assignment algorithm and lower bounding box losses for those positive samples, indicating more samples with higher-quality predicted boxes are selected as positives.
Photography, Computer applications to medicine. Medical informatics
Kazuki Nagasawa, Shoji Yamamoto, Wataru Arai
et al.
In this paper, we propose a pipeline that reproduces human skin mockups using a UV printer by obtaining the spatial concentration map of pigments from an RGB image of human skin. The pigment concentration distributions were obtained by a separating method of skin pigment components with independent component analysis from the skin image. This method can extract the concentration of melanin and hemoglobin components, which are the main pigments that make up skin tone. Based on this concentration, we developed a procedure to reproduce a skin mockup with a multi-layered structure that is determined by mapping the absorbance of melanin and hemoglobin to CMYK (Cyan, Magenta, Yellow, Black) subtractive color mixing. In our proposed method, the multi-layered structure with different pigments in each layer contributes greatly to the accurate reproduction of skin tones. We use a UV printer because the printer is capable of layered fabrication by using UV-curable inks. As the result, subjective evaluation showed that the artificial skin reproduced by our method has a more skin-like appearance than that produced using conventional printing.
Photography, Computer applications to medicine. Medical informatics
In order to improve the evaluation system for the water conservancy photography creation base, evaluation indicators regarding the aspects of photographic resources, photographic elements, and water resources were selected to construct an evaluation index system, and the evaluation criteria for each index were provided. The optimal comprehensive weight for each evaluation index was determined following the moment estimation theory. The quantitative evaluation of the water conservancy photography creation base was carried out combined with the scoring standards for each index. The evaluation index system constructed here was then discussed in the application. This indicated that the evaluation index system is suitable for determining the construction status of the evaluated cases, thus verifying its rationality. The comprehensive weighting of the indicators based on the moment estimation theory made the evaluation method more scientific and the corresponding results more reliable. This enabled the entire evaluation system and method to provide the theoretical support for the scientific evaluation of the water conservancy photography creation base. HIGHLIGHTS
The concept of water conservancy photography creation base is put forward for the first time.;
Construction of the evaluation index system for the water conservancy photography creation base.;
The application research on the evaluation index system is carried out.;
Determine the comprehensive weight for each index by the moment estimation theory.;
Use of two evaluation methods to validate the rationality of the evaluation results.;
River, lake, and water-supply engineering (General)
Images are visually inspected for defects that affect downstream operations and qualitatively evaluated immediately after they are acquired. Therefore, there is concern that an increase in the number of images taken affects the quality and process of inspections. Among the defects qualitatively detected in visual inspections, blurring is a serious one, despite its low rate of appearance. However, the blurry images detected in the visual inspections can only be solved by the take another photograph. For this reason, it is not acceptable for any blurry images to be missed in the visual inspections. Therefore, quantitative evaluations are an issue when inspecting photographed images. In the present study, its characteristics in aerial photography were investigated and it was established that motion blur occurs in aerial photography. The motion blur is a condition in which the subject appears to have drifted. We focused on the gradient direction of the image, which is considered to be concentrated in a certain direction. The concept of directional statistics was used to statistically process the gradient direction. The evaluation values calculated from the gradient direction statistics tended to increase with the amount of blurring in the aerial photographs. An experiment was conducted to investigate whether images with blurring could be detected in a large number of aerial photographs. As a result, we were able to successfully detect blurred images that had been overlooked during the visual inspection as well as the images that had been previously detected during the visual inspection.
This article examines the output of Uganda's official Photographic Section from the years of the Idi Amin regime (1971-9), an archive of 60,000 black and white images from which have recently come to light in the stores of the Uganda Broadcasting Corporation in Kampala. Drawing on recent developments in African visual studies, the article focuses in particular upon what this archive reveals about photographic circulations in and from Amin's Uganda. It finds that this new trove of negatives -when compared with press archives from around the world - is especially revealing of a growing nexus between official photography and all kinds of commercial photographies in the 1970s. This nexus played a key role in shaping both how the Amin regime was pictured at the time, and how its afterlife has continued to reflect down to the present time.
In The Book of Dolores, a series of self-portraits in photography and drawings with accompanying text, William T. Vollmann pictures himself as a cross-dresser. He uses various techniques that emphasize the pictorial approach of photography, to create an uncanny icon of femininity. As an attempt to reach the other side, not just of gender, but of life, his negative prints in particular seem to reveal a ghostly presence.
In TheBook of Dolores, una serie di autoritratti fotografici e disegnati e accompagnati da un testo scritto, William T. Vollmann si ritrae come un travestito. Utilizza diverse tecniche che enfatizzano l’approccio pittorialista alla fotografia per creare un’icona perturbante della femminilità. Tentativi di raggiungere l’altro lato, non solo del genere, ma anche della vita, i suoi negativi, in particolare, sembrano rivelare una presenza spettrale.
Language. Linguistic theory. Comparative grammar, Style. Composition. Rhetoric
In Virginia Woolf’s Jacob’s Room, the many instances of the failure of language are literalized visually, but the result reflects a larger failure of representation. The visual interrupts the verbal in order to prove linguistic representation faulty, and when it disturbs the narrative flow, it becomes a better representative of the collective attempt at communication in the modern world. Woolf combines multiple modes of photography to create her own mode of photographic vision, which questions the status of representation through a paradoxical blending of snapshot and pictorialist photographic qualities. This blending is seen through Woolf’s photographic descriptions, language, silence, and portraiture, all of which function as interruptions within the text that simultaneously obscure and illuminate the characters.
The article highlights the intersection between design, STS and consumption outlining practices as the central unit of analysis. The paper illustrates this perspective with reference to a variety of examples, including home improvements and do-it-yourself (DIY) projects, digital photography and plastic stuff. In the paper some questions are raised: where does competence lie? Does it reside in the human or in the non-human, or in the relation between the two? What does the concept of a human-non-human hybrid mean for the sociology of consumption? And how does the human-material distribution of competences affect the details of everyday life and what people do?
We report measurements of flow transitions, from avalanching to rolling, for granular material in rotary kilns. In the avalanching mode, the surface slips periodically; in the intervals between avalanches, all particles rotate with the kiln. In the rolling mode, the surface particles slide down continuously; the material underneath the surface rotates with the kiln. Our measurements give Froude numbers (Rω2/g) for transitions, which are significantly different for sand and TiO2 powder. For the avalanching mode, we measured cycle times and deduced t12, the avalanche time; t12 was also measured directly by video photography. For kilns of diameters 0.2-0.5 m, both methods give t12, of order 1-2 sec and it appears to be proportional to √l, l being the chord length of the granular bed, the maximum distance of fall for avalanche material. Simple theory, assuming the avalanche particles slide down a frictional surface, gives fair estimates of t12 and may be a basis for predicting avalanche-to-rolling transitions in large industrial kilns.
Technology (General), Nuclear and particle physics. Atomic energy. Radioactivity
The peculiarity of the films by Ulrich Seidl lies in the fact that the Austrian director combines freely the feature and documentary film techniques. This makes classifying his works not only impossible, but also pointless. Nevertheless, Seidl was perceived by critics as a documentary film director until he shot “Dog Days” in the year 2001. This film is regarded as a kind of a turning point in his career, a transition from documentary to fictional filmmaking. In fact it is hard to speak of a fundamental change in this instance. It seems more appropriate to perceive Seidl’s work as the director’s own consistently developed concept of cinema. The category of authenticity in meaning, contained in a definition formulated by the German film theoretician Manfred Hattendorf, proves to be very useful for describing the characteristic features of Seidl’s works. The techniques applied by Seidl in order to achieve the impression of authenticity by the viewer also bring to mind the voyeur’s perspective.
Antoin Sevruguin was the most prominent and prolific professional photographer in Iran at the end of 19th century. He embarked on documentation of people in Qajar era and recordingvarious portraits of Iran. In addition to documentation, his portraitures of people during Qajar era have aesthetic values as well. AugustSander, a German social documentary photographer and member of new objectivity group, pictured dif-ferent classes of people of his time in Germany precisely and explicitly with socio- logical and purposeful view. Meanwhile, the typographic works of Sevruguin are very similarto the typographic works of AugustSander who lived somehow after Sevru- guin. Sevruguin and Sander’s works are similar to each other in terms of arrangement, structure and even aesthetics. The aim of the present study is to get familiar with the typographic expression of the two well-known photographers in the field of documen- tary and typography and after that comparative study of their works and specify their similarities and differences. The methodology of the study is descriptive-analytic, a type of qualitative study, and the texts, pictures and primary information are collected from two reference books of both artists using library documentations. From among the similarities of the typographic works of both photographers, that are more in terms of structure, are using rectangular framework, vertical and triangular structures, angle and depth of view etc. However,the aim, mindset and attitude of both photographers are different from each other; Sander looked for identity record of people of his time and Sevruguin wanted to register different portraits of Iran. The difference in both artists’ view and aim developed differences in their mode of expression such as in setting, lighting, gestures and postures of models. Sevruguin manipulated the setting, posture and gesture of his models and gave them an aesthetic value but Sander, with- .out any manipulation, recorded his models in an explicit and precise way