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representation</title> <meta name="description" content="Search results for: visual representation"> <meta name="keywords" content="visual representation"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block 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action="https://publications.waset.org/abstracts/search"> <div id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="visual representation"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 3010</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: visual representation</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3010</span> Bag of Words Representation Based on Weighting Useful Visual Words</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Fatma%20Abdedayem">Fatma Abdedayem</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The most effective and efficient methods in image categorization are almost based on bag-of-words (BOW) which presents image by a histogram of occurrence of visual words. In this paper, we propose a novel extension to this method. Firstly, we extract features in multi-scales by applying a color local descriptor named opponent-SIFT. Secondly, in order to represent image we use Spatial Pyramid Representation (SPR) and an extension to the BOW method which based on weighting visual words. Typically, the visual words are weighted during histogram assignment by computing the ratio of their occurrences in the image to the occurrences in the background. Finally, according to classical BOW retrieval framework, only a few words of the vocabulary is useful for image representation. Therefore, we select the useful weighted visual words that respect the threshold value. Experimentally, the algorithm is tested by using different image classes of PASCAL VOC 2007 and is compared against the classical bag-of-visual-words algorithm. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=BOW" title="BOW">BOW</a>, <a href="https://publications.waset.org/abstracts/search?q=useful%20visual%20words" title=" useful visual words"> useful visual words</a>, <a href="https://publications.waset.org/abstracts/search?q=weighted%20visual%20words" title=" weighted visual words"> weighted visual words</a>, <a href="https://publications.waset.org/abstracts/search?q=bag%20of%20visual%20words" title=" bag of visual words"> bag of visual words</a> </p> <a href="https://publications.waset.org/abstracts/14009/bag-of-words-representation-based-on-weighting-useful-visual-words" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/14009.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">436</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3009</span> Life Expansion: Visual Autobiography, Identity, Representation and the Degrees of Fictionalization of the Self on Instagram</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Pablo%20De%20Macedo%20Silveira%20Vallejos">Pablo De Macedo Silveira Vallejos</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This article aims to observe autobiographical and visual narrative practices among users on Instagram. In this way, the work proposes to reflect on how image resources are used to develop edited representations of the self in that social network. The research aims to explore the uses of editing and the degrees of fictionalization present on Instagram. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=autobiography" title="autobiography">autobiography</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20narratives" title=" visual narratives"> visual narratives</a>, <a href="https://publications.waset.org/abstracts/search?q=representation" title=" representation"> representation</a>, <a href="https://publications.waset.org/abstracts/search?q=fiction" title=" fiction"> fiction</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20media" title=" social media"> social media</a> </p> <a href="https://publications.waset.org/abstracts/172749/life-expansion-visual-autobiography-identity-representation-and-the-degrees-of-fictionalization-of-the-self-on-instagram" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/172749.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">74</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3008</span> Residential Architecture and Its Representation in Movies: Bangkok's Spatial Research in the Study of Thai Cinematography</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Janis%20Matvejs">Janis Matvejs</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Visual representation of a city creates unique perspectives that allow to interpret the urban environment and enable to understand a space that is culturally created and territorially organized. Residential complexes are an essential part of cities and cinema is a specific representation form of these areas. There has been very little research done on exploring how these areas are depicted in the Thai movies. The aim of this research is to interpret the discourse of residential areas of Bangkok throughout the 20th and 21st centuries and to examine essential changes in the residential structure. Specific cinematic formal techniques in relation to the urban image were used. The movie review results were compared with changes in Bangkok’s residential development. Movie analysis displayed that residential areas are frequently used in Thai cinematography and they make up an integral part of the urban visual perception. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Bangkok" title="Bangkok">Bangkok</a>, <a href="https://publications.waset.org/abstracts/search?q=cinema" title=" cinema"> cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=residential%20area" title=" residential area"> residential area</a>, <a href="https://publications.waset.org/abstracts/search?q=representation" title=" representation"> representation</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20perception" title=" visual perception"> visual perception</a> </p> <a href="https://publications.waset.org/abstracts/81904/residential-architecture-and-its-representation-in-movies-bangkoks-spatial-research-in-the-study-of-thai-cinematography" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/81904.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">194</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3007</span> Festive Fictions: An Iconographic Study of Ritual and Intersectionality in Cartagena, Colombia </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Melissa%20Valle">Melissa Valle</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper draws upon the studies of visual culture and intersectionality to illuminate how visuality can naturalize social hierarchies. Through the use of iconography, it decodes the denotative, connotative and ideological meanings of symbols of ritualistic events in the context of the Colombian Atlantic Coast. An examination of such exceptional moments, i.e. of the spectacle, brings into focus how such performances are imbued with meaning by both the on-looker and the performer. Through an analysis of preexisting visuals (e.g., advertisements, social media) and visual materials produced by the researcher for the purpose of photo-elicitation interviews, this paper provides a contextual analysis of the ways in which three representations, popular during Colombian Atlantic coastal festivals (Negrita Puloy, Las Palenqueras, and El Son de Negro), have been historically, culturally and politically constituted. This work reveals that the visualizations are born out of and reproduce typifications systems heavily based upon race, gender, class, and ethnicity. Understanding the ways these categories are mutually constituted through the cultural practice of visual representation is essential to a more comprehensive understanding of the role such representation plays in the reproduction of social difference. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Colombia" title="Colombia">Colombia</a>, <a href="https://publications.waset.org/abstracts/search?q=festivals" title=" festivals"> festivals</a>, <a href="https://publications.waset.org/abstracts/search?q=intersectionality" title=" intersectionality"> intersectionality</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20culture" title=" visual culture "> visual culture </a> </p> <a href="https://publications.waset.org/abstracts/65834/festive-fictions-an-iconographic-study-of-ritual-and-intersectionality-in-cartagena-colombia" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/65834.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">355</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3006</span> The Contemporary Visual Spectacle: Critical Visual Literacy</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Lai-Fen%20Yang">Lai-Fen Yang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In this increasingly visual world, how can we best decipher and understand the many ways that our everyday lives are organized around looking practices and the many images we encounter each day? Indeed, how we interact with and interpret visual images is a basic component of human life. Today, however, we are living in one of the most artificial visual and image-saturated cultures in human history, which makes understanding the complex construction and multiple social functions of visual imagery more important than ever before. Themes regarding our experience of a visually pervasive mediated culture, here, termed visual spectacle. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=visual%20culture" title="visual culture">visual culture</a>, <a href="https://publications.waset.org/abstracts/search?q=contemporary" title=" contemporary"> contemporary</a>, <a href="https://publications.waset.org/abstracts/search?q=images" title=" images"> images</a>, <a href="https://publications.waset.org/abstracts/search?q=literacy" title=" literacy"> literacy</a> </p> <a href="https://publications.waset.org/abstracts/9045/the-contemporary-visual-spectacle-critical-visual-literacy" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/9045.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">513</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3005</span> Exploring the Visual Representations of Neon Signs and Its Vernacular Tacit Knowledge of Neon Making</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Brian%20Kwok">Brian Kwok</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Hong Kong is well-known for its name as "the Pearl of the Orient", due to its spectacular night-view with vast amount of decorative neon lights on the streets. Neon signs are first used as the pervasive media of communication for all kinds of commercial advertising, ranging from movie theatres to nightclubs and department stores, and later appropriated by artists as medium of artwork. As a well-established visual language, it displays texts in bilingual format due to British's colonial influence, which are sometimes arranged in an opposite reading order. Research on neon signs as a visual representation is rare but significant because they are part of people’s collective memories of the unique cityscapes which associate the shifting values of people's daily lives and culture identity. Nevertheless, with the current policy to remove abandoned neon signs, their total number dramatically declines recently. The Buildings Department found an estimation of 120,000 unauthorized signboards (including neon signs) in Hong Kong in 2013, and the removal of such is at a rate of estimated 1,600 per year since 2006. In other words, the vernacular cultural values and historical continuity of neon signs will gradually be vanished if no immediate action is taken in documenting them for the purpose of research and cultural preservation. Therefore, the Hong Kong Neon Signs Archive project was established in June of 2015, and over 100 neon signs are photo-documented so far. By content analysis, this project will explore the two components of neon signs – the use of visual languages and vernacular tacit knowledge of neon makers. It attempts to answer these questions about Hong Kong's neon signs: 'What are the ways in which visual representations are used to produce our cityscapes and streetscapes?'; 'What are the visual languages and conventions of usage in different business types?'; 'What the intact knowledge are applied when producing these visual forms of neon signs?' <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cityscapes" title="cityscapes">cityscapes</a>, <a href="https://publications.waset.org/abstracts/search?q=neon%20signs" title=" neon signs"> neon signs</a>, <a href="https://publications.waset.org/abstracts/search?q=tacit%20knowledge" title=" tacit knowledge"> tacit knowledge</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20representation" title=" visual representation "> visual representation </a> </p> <a href="https://publications.waset.org/abstracts/43147/exploring-the-visual-representations-of-neon-signs-and-its-vernacular-tacit-knowledge-of-neon-making" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/43147.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">301</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3004</span> Applications of Visual Ethnography in Public Anthropology</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Subramaniam%20Panneerselvam">Subramaniam Panneerselvam</a>, <a href="https://publications.waset.org/abstracts/search?q=Gunanithi%20Perumal"> Gunanithi Perumal</a>, <a href="https://publications.waset.org/abstracts/search?q=KP%20Subin"> KP Subin</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The Visual Ethnography is used to document the culture of a community through a visual means. It could be either photography or audio-visual documentation. The visual ethnographic techniques are widely used in visual anthropology. The visual anthropologists use the camera to capture the cultural image of the studied community. There is a scope for subjectivity while the culture is documented by an external person. But the upcoming of the public anthropology provides an opportunity for the participants to document their own culture. There is a need to equip the participants with the skill of doing visual ethnography. The mobile phone technology provides visual documentation facility to everyone to capture the moments instantly. The visual ethnography facilitates the multiple-interpretation for the audiences. This study explores the effectiveness of visual ethnography among the tribal youth through public anthropology perspective. The case study was conducted to equip the tribal youth of Nilgiris in visual ethnography and the outcome of the experiment shared in this paper. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=visual%20ethnography" title="visual ethnography">visual ethnography</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20anthropology" title=" visual anthropology"> visual anthropology</a>, <a href="https://publications.waset.org/abstracts/search?q=public%20anthropology" title=" public anthropology"> public anthropology</a>, <a href="https://publications.waset.org/abstracts/search?q=multiple-interpretation" title=" multiple-interpretation"> multiple-interpretation</a>, <a href="https://publications.waset.org/abstracts/search?q=case%20study" title=" case study"> case study</a> </p> <a href="https://publications.waset.org/abstracts/127577/applications-of-visual-ethnography-in-public-anthropology" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/127577.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">183</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3003</span> The Analogy of Visual Arts and Visual Literacy</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Lindelwa%20Pepu">Lindelwa Pepu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Visual Arts and Visual Literacy are defined with distinction from one another. Visual Arts are known for art forms such as drawing, painting, and photography, just to name a few. At the same time, Visual Literacy is known for learning through images. The Visual Literacy phenomenon may be attributed to the use of images was first established for creating memories and enjoyment. As time evolved, images became the center and essential means of making contact between people. Gradually, images became a means for interpreting and understanding words through visuals, that being Visual Arts. The purpose of this study is to present the analogy of the two terms Visual Arts and Visual Literacy, which are defined and compared through early practicing visual artists as well as relevant researchers to reveal how they interrelate with one another. This is a qualitative study that uses an interpretive approach as it seeks to understand and explain the interest of the study. The results reveal correspondence of the analogy between the two terms through various writers of early and recent years. This study recommends the significance of the two terms and the role they play in relation to other fields of study. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=visual%20arts" title="visual arts">visual arts</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20literacy" title=" visual literacy"> visual literacy</a>, <a href="https://publications.waset.org/abstracts/search?q=pictures" title=" pictures"> pictures</a>, <a href="https://publications.waset.org/abstracts/search?q=images" title=" images"> images</a> </p> <a href="https://publications.waset.org/abstracts/165940/the-analogy-of-visual-arts-and-visual-literacy" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/165940.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">166</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3002</span> Third Eye: A Hybrid Portrayal of Visuospatial Attention through Eye Tracking Research and Modular Arithmetic </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shareefa%20Abdullah%20Al-Maqtari">Shareefa Abdullah Al-Maqtari</a>, <a href="https://publications.waset.org/abstracts/search?q=Ruzaika%20Omar%20Basaree"> Ruzaika Omar Basaree</a>, <a href="https://publications.waset.org/abstracts/search?q=Rafeah%20Legino"> Rafeah Legino</a> </p> <p class="card-text"><strong>Abstract:</strong></p> A pictorial representation of hybrid forms in science-art collaboration has become a crucial issue in the course of exploring a new painting technique development. This is straight related to the reception of an invisible-recognition phenomenology. In hybrid pictorial representation of invisible-recognition phenomenology, the challenging issue is how to depict the pictorial features of indescribable objects from its mental source, modality and transparency. This paper proposes the hybrid technique of painting Demonstrate, Resemble, and Synthesize (DRS) through a combination of the hybrid aspect-recognition representation of understanding picture, demonstrative mod, the number theory, pattern in the modular arithmetic system, and the coherence theory of visual attention in the dynamic scenes representation. Multi-methods digital gaze data analyses, pattern-modular table operation design, and rotation parameter were used for the visualization. In the scientific processes, Eye-trackingvideo-sections based was conducted using Tobii T60 remote eye tracking hardware and TobiiStudioTM analysis software to collect and analyze the eye movements of ten participants when watching the video clip, Alexander Paulikevitch’s performance’s ‘Tajwal’. Results: we found that correlation of fixation count in section one was positively and moderately correlated with section two Person’s (r=.10, p < .05, 2-tailed) as well as in fixation duration Person’s (r=.10, p < .05, 2-tailed). However, a paired-samples t-test indicates that scores were significantly higher for the section one (M = 2.2, SD = .6) than for the section two (M = 1.93, SD = .6) t(9) = 2.44, p < .05, d = 0.87. In the visual process, the exported data of gaze number N was resembled the hybrid forms of visuospatial attention using the table-mod-analyses operation. The explored hybrid guideline was simply applicable, and it could be as alternative approach to the sustainability of contemporary visual arts. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=science-art%20collaboration" title="science-art collaboration">science-art collaboration</a>, <a href="https://publications.waset.org/abstracts/search?q=hybrid%20forms" title=" hybrid forms"> hybrid forms</a>, <a href="https://publications.waset.org/abstracts/search?q=pictorial%20representation" title=" pictorial representation"> pictorial representation</a>, <a href="https://publications.waset.org/abstracts/search?q=visuospatial%20attention" title=" visuospatial attention"> visuospatial attention</a>, <a href="https://publications.waset.org/abstracts/search?q=modular%20arithmetic" title=" modular arithmetic"> modular arithmetic</a> </p> <a href="https://publications.waset.org/abstracts/78997/third-eye-a-hybrid-portrayal-of-visuospatial-attention-through-eye-tracking-research-and-modular-arithmetic" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/78997.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">364</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3001</span> The Analysis of Cultural Diversity in EFL Textbook for Senior High School in Indonesia</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Soni%20Ariawan">Soni Ariawan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The study aims to explore the cultural diversity highlighted in EFL textbook for Senior High School grade 10 in Indonesia. The visual images are selected as the data and qualitatively analysed using content analysis. The reason to choose visual images because images are not always neutral and they might impact teaching and learning process. In the current study, cultural diversity aspects are focused on religion (Muslim, Protestant, Catholic, Hindu, Buddhist, Confucian), gender (male, female, unclear), ethnic (Melanesian, Austronesian, Foreigner) and socioeconomic (low, middle, high, undetermined) diversity as the theoretical framework. The four aspects of cultural diversity are sufficiently representative to draw a conclusion in investigating Indonesian culture representation in EFL textbook. The finding shows that cultural diversity is not proportionally reflected in the textbook, particularly in the visual images. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=EFL%20textbook" title="EFL textbook">EFL textbook</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20diversity" title=" cultural diversity"> cultural diversity</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20images" title=" visual images"> visual images</a>, <a href="https://publications.waset.org/abstracts/search?q=Indonesia" title=" Indonesia"> Indonesia</a> </p> <a href="https://publications.waset.org/abstracts/80298/the-analysis-of-cultural-diversity-in-efl-textbook-for-senior-high-school-in-indonesia" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/80298.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">314</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3000</span> Rendering of Indian History: A Study Based on Select Graphic Novels</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Akhila%20Sara%20Varughese">Akhila Sara Varughese</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the postmodern society, visual narratives became an emerging genre in the field of literature. Graphic literature focuses on the literal and symbolic layer of interpretation. The most salient feature of graphic literature is its exploration of the public history of events and life narratives. The Indian graphic literature re-interprets the canon, style and the form of texts in Indian Writing in English and it demands a new literacy and the structure of the English literature. With the help of visual-verbal language, the graphic narratives discuss various facets of contemporary India. Graphic novels have firmly identified itself with the art of storytelling because of its capability of expressing human experiences to the most. In the textual novels, the author usually deserts the imagination of the readers, but in the case of graphic narratives, due to the presence of visual elements, the interpretation becomes simpler. India is the second most populous country in the world with a long tradition of history and culture. Indian literature always tries to reconstruct Indian history in various modes of representation. The present paper focuses on the fictional articulation of Indian history through the graphic narratives and analyses how some historical events in India portrays. The paper also traces the differences in rendering the history in graphic novels with that of textual novels. The paper discusses how much the blending of words and images helps in represent the Indian history by analyzing the graphic novels like Kashmir Pending by Naseer Ahmed, Delhi Calm by Vishwajyoti Ghosh and Munnu by Malik Sajad. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=graphic%20novels" title="graphic novels">graphic novels</a>, <a href="https://publications.waset.org/abstracts/search?q=Indian%20history" title=" Indian history"> Indian history</a>, <a href="https://publications.waset.org/abstracts/search?q=representation" title=" representation"> representation</a>, <a href="https://publications.waset.org/abstracts/search?q=visual-verbal%20literacy" title=" visual-verbal literacy"> visual-verbal literacy</a> </p> <a href="https://publications.waset.org/abstracts/87258/rendering-of-indian-history-a-study-based-on-select-graphic-novels" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/87258.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">347</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">2999</span> Literature Review on Text Comparison Techniques: Analysis of Text Extraction, Main Comparison and Visual Representation Tools</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Andriana%20Mkrtchyan">Andriana Mkrtchyan</a>, <a href="https://publications.waset.org/abstracts/search?q=Vahe%20Khlghatyan"> Vahe Khlghatyan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The choice of a profession is one of the most important decisions people make throughout their life. With the development of modern science, technologies, and all the spheres existing in the modern world, more and more professions are being arisen that complicate even more the process of choosing. Hence, there is a need for a guiding platform to help people to choose a profession and the right career path based on their interests, skills, and personality. This review aims at analyzing existing methods of comparing PDF format documents and suggests that a 3-stage approach is implemented for the comparison, that is – 1. text extraction from PDF format documents, 2. comparison of the extracted text via NLP algorithms, 3. comparison representation using special shape and color psychology methodology. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=color%20psychology" title="color psychology">color psychology</a>, <a href="https://publications.waset.org/abstracts/search?q=data%20acquisition%2Fextraction" title=" data acquisition/extraction"> data acquisition/extraction</a>, <a href="https://publications.waset.org/abstracts/search?q=data%20augmentation" title=" data augmentation"> data augmentation</a>, <a href="https://publications.waset.org/abstracts/search?q=disambiguation" title=" disambiguation"> disambiguation</a>, <a href="https://publications.waset.org/abstracts/search?q=natural%20language%20processing" title=" natural language processing"> natural language processing</a>, <a href="https://publications.waset.org/abstracts/search?q=outlier%20detection" title=" outlier detection"> outlier detection</a>, <a href="https://publications.waset.org/abstracts/search?q=semantic%20similarity" title=" semantic similarity"> semantic similarity</a>, <a href="https://publications.waset.org/abstracts/search?q=text-mining" title=" text-mining"> text-mining</a>, <a href="https://publications.waset.org/abstracts/search?q=user%20evaluation" title=" user evaluation"> user evaluation</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20search" title=" visual search"> visual search</a> </p> <a href="https://publications.waset.org/abstracts/161588/literature-review-on-text-comparison-techniques-analysis-of-text-extraction-main-comparison-and-visual-representation-tools" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/161588.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">76</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">2998</span> A Semiotic Analysis of the Changes in the Visual Sign System of International Advertisements in the Arab World</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nabil%20Mohammed%20Nasser%20Salem">Nabil Mohammed Nasser Salem</a> </p> <p class="card-text"><strong>Abstract:</strong></p> International advertisements targeting the Arab world are usually modified to be compatible with the conservative culture in many Arab countries. The portrayal of female models in international advertisements in Arab magazines avoids direct sexual representation. Arab culture is guided by religious teachings and social restrictions that prohibit the display of many parts of the female body. Exposure of shoulders, arms, armpits, cleavage, legs, thighs, etc., of the female body is usually avoided in international advertisements published in Arab magazines. Exposure to parts of the female body other than the face and hands may be considered offensive in many parts of Arab countries. Although extensive research has been conducted on Arabic advertisements, to our best knowledge, there are no publications in the literature that address the recent changes in the visual sign system in international advertisements in Arab magazines using semiotics as a research method. The present study aims to analyze the changes in the visual sign system of international advertisements published in Arab magazines that promote female fragrances. It tries to analyze the differences in the sexual representations of the same female models in some selected advertisements during different periods. The magazines are randomly selected from the period between 2000 and 2019. The selection of magazines is based on their availability and popularity. The study focuses on the Dior Jadore ads because they reflect important changes in the appearance of the same female model between 2000 to 2019. The result of the study shows important changes in the sexual representation of the same female body. The Dior Jadore advertisement in 2000 shows only the head of the female model. The model is modestly portrayed and shows clear cultural and religious restrictions on the sexual representation of the female body. The result shows that the same female model is portrayed differently in the Dior Jadore advertisement from the period 2005 to 2019. These versions of advertisements show more parts of the female body that are covered in the older versions and show stronger sexual representations. The study is an important contribution as it fills an important gap in the literature by extending semiotic research to the study of recent visual changes in the sign system of international advertisements published in Arab magazines during an important period in the history of international advertisement targeting the Arab world, as they reflect changes in the sexual representation of female models. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Arab%20magazine" title="Arab magazine">Arab magazine</a>, <a href="https://publications.waset.org/abstracts/search?q=female%20body" title=" female body"> female body</a>, <a href="https://publications.waset.org/abstracts/search?q=international%20advertisements" title=" international advertisements"> international advertisements</a>, <a href="https://publications.waset.org/abstracts/search?q=semiotics" title=" semiotics"> semiotics</a>, <a href="https://publications.waset.org/abstracts/search?q=sexual%20representation" title=" sexual representation"> sexual representation</a> </p> <a href="https://publications.waset.org/abstracts/161250/a-semiotic-analysis-of-the-changes-in-the-visual-sign-system-of-international-advertisements-in-the-arab-world" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/161250.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">88</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">2997</span> Deep Learning Approach to Trademark Design Code Identification</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Girish%20J.%20Showkatramani">Girish J. Showkatramani</a>, <a href="https://publications.waset.org/abstracts/search?q=Arthi%20M.%20Krishna"> Arthi M. Krishna</a>, <a href="https://publications.waset.org/abstracts/search?q=Sashi%20Nareddi"> Sashi Nareddi</a>, <a href="https://publications.waset.org/abstracts/search?q=Naresh%20Nula"> Naresh Nula</a>, <a href="https://publications.waset.org/abstracts/search?q=Aaron%20Pepe"> Aaron Pepe</a>, <a href="https://publications.waset.org/abstracts/search?q=Glen%20Brown"> Glen Brown</a>, <a href="https://publications.waset.org/abstracts/search?q=Greg%20Gabel"> Greg Gabel</a>, <a href="https://publications.waset.org/abstracts/search?q=Chris%20Doninger"> Chris Doninger</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Trademark examination and approval is a complex process that involves analysis and review of the design components of the marks such as the visual representation as well as the textual data associated with marks such as marks' description. Currently, the process of identifying marks with similar visual representation is done manually in United States Patent and Trademark Office (USPTO) and takes a considerable amount of time. Moreover, the accuracy of these searches depends heavily on the experts determining the trademark design codes used to catalog the visual design codes in the mark. In this study, we explore several methods to automate trademark design code classification. Based on recent successes of convolutional neural networks in image classification, we have used several different convolutional neural networks such as Google’s Inception v3, Inception-ResNet-v2, and Xception net. The study also looks into other techniques to augment the results from CNNs such as using Open Source Computer Vision Library (OpenCV) to pre-process the images. This paper reports the results of the various models trained on year of annotated trademark images. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=trademark%20design%20code" title="trademark design code">trademark design code</a>, <a href="https://publications.waset.org/abstracts/search?q=convolutional%20neural%20networks" title=" convolutional neural networks"> convolutional neural networks</a>, <a href="https://publications.waset.org/abstracts/search?q=trademark%20image%20classification" title=" trademark image classification"> trademark image classification</a>, <a href="https://publications.waset.org/abstracts/search?q=trademark%20image%20search" title=" trademark image search"> trademark image search</a>, <a href="https://publications.waset.org/abstracts/search?q=Inception-ResNet-v2" title=" Inception-ResNet-v2"> Inception-ResNet-v2</a> </p> <a href="https://publications.waset.org/abstracts/85337/deep-learning-approach-to-trademark-design-code-identification" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/85337.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">232</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">2996</span> Visual Identity Components of Tourist Destination</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Petra%20Barisic">Petra Barisic</a>, <a href="https://publications.waset.org/abstracts/search?q=Zrinka%20Blazevic"> Zrinka Blazevic</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the world of modern communications, visual identity has predominant influence on the overall success of tourist destinations, but despite of these, the problem of designing thriving tourist destination visual identity and their components are hardly addressed. This study highlights the importance of building and managing the visual identity of tourist destination, and based on the empirical study of well-known Mediterranean destination of Croatia analyses three main components of tourist destination visual identity; name, slogan, and logo. Moreover, the paper shows how respondents perceive each component of Croatia’s visual identity. According to study, logo is the most important, followed by the name and slogan. Research also reveals that Croatian economy lags behind developed countries in understanding the importance of visual identity, and its influence on marketing goal achievements. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=components%20of%20visual%20identity" title="components of visual identity">components of visual identity</a>, <a href="https://publications.waset.org/abstracts/search?q=Croatia" title=" Croatia"> Croatia</a>, <a href="https://publications.waset.org/abstracts/search?q=tourist%20destination" title=" tourist destination"> tourist destination</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20identity" title=" visual identity "> visual identity </a> </p> <a href="https://publications.waset.org/abstracts/6602/visual-identity-components-of-tourist-destination" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/6602.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">1050</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">2995</span> Spatiotemporal Analysis of Visual Evoked Responses Using Dense EEG</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rima%20Hleiss">Rima Hleiss</a>, <a href="https://publications.waset.org/abstracts/search?q=Elie%20Bitar"> Elie Bitar</a>, <a href="https://publications.waset.org/abstracts/search?q=Mahmoud%20Hassan"> Mahmoud Hassan</a>, <a href="https://publications.waset.org/abstracts/search?q=Mohamad%20Khalil"> Mohamad Khalil</a> </p> <p class="card-text"><strong>Abstract:</strong></p> A comprehensive study of object recognition in the human brain requires combining both spatial and temporal analysis of brain activity. Here, we are mainly interested in three issues: the time perception of visual objects, the ability of discrimination between two particular categories (objects vs. animals), and the possibility to identify a particular spatial representation of visual objects. Our experiment consisted of acquiring dense electroencephalographic (EEG) signals during a picture-naming task comprising a set of objects and animals’ images. These EEG responses were recorded from nine participants. In order to determine the time perception of the presented visual stimulus, we analyzed the Event Related Potentials (ERPs) derived from the recorded EEG signals. The analysis of these signals showed that the brain perceives animals and objects with different time instants. Concerning the discrimination of the two categories, the support vector machine (SVM) was applied on the instantaneous EEG (excellent temporal resolution: on the order of millisecond) to categorize the visual stimuli into two different classes. The spatial differences between the evoked responses of the two categories were also investigated. The results showed a variation of the neural activity with the properties of the visual input. Results showed also the existence of a spatial pattern of electrodes over particular regions of the scalp in correspondence to their responses to the visual inputs. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=brain%20activity" title="brain activity">brain activity</a>, <a href="https://publications.waset.org/abstracts/search?q=categorization" title=" categorization"> categorization</a>, <a href="https://publications.waset.org/abstracts/search?q=dense%20EEG" title=" dense EEG"> dense EEG</a>, <a href="https://publications.waset.org/abstracts/search?q=evoked%20responses" title=" evoked responses"> evoked responses</a>, <a href="https://publications.waset.org/abstracts/search?q=spatio-temporal%20analysis" title=" spatio-temporal analysis"> spatio-temporal analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=SVM" title=" SVM"> SVM</a>, <a href="https://publications.waset.org/abstracts/search?q=time%20perception" title=" time perception"> time perception</a> </p> <a href="https://publications.waset.org/abstracts/39234/spatiotemporal-analysis-of-visual-evoked-responses-using-dense-eeg" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/39234.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">422</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">2994</span> The Representation of J. D. Salinger’s Views on Changes in American Society in the 1940s in The Catcher in the Rye</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jessadaporn%20Achariyopas">Jessadaporn Achariyopas</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The objectives of this study aim to analyze both the protagonist in The Catcher in the Rye in terms of ideological concepts and narrative techniques which influence the construction of the representation and the relationship between the representation and J. D. Salinger’s views on changes in American society in the 1940s. This area of study might concern two theories: namely, a theory of representation and narratology. In addition, this research is intended to answer the following three questions. Firstly, how is the production of meaning through language in The Catcher in the Rye constructed? Secondly, what are J. D. Salinger’s views on changes in American society in the 1940s? Lastly, how is the relationship between the representation and J. D. Salinger’s views? The findings showed that the protagonist’s views, J. D. Salinger’s views, and changes in American society in the 1940s are obviously interrelated. The production of meaning which is the representation of the protagonist’s views was constructed of narrative techniques. J. D. Salinger’s views on changes in American society in the 1940s were the same antisocial perspectives as Holden Caulfield’s which are phoniness, alienation and meltdown. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=representation" title="representation">representation</a>, <a href="https://publications.waset.org/abstracts/search?q=construction%20of%20the%20representation" title=" construction of the representation"> construction of the representation</a>, <a href="https://publications.waset.org/abstracts/search?q=systems%20of%20representation" title=" systems of representation"> systems of representation</a>, <a href="https://publications.waset.org/abstracts/search?q=phoniness" title=" phoniness"> phoniness</a>, <a href="https://publications.waset.org/abstracts/search?q=alienation" title=" alienation"> alienation</a>, <a href="https://publications.waset.org/abstracts/search?q=meltdown" title=" meltdown"> meltdown</a> </p> <a href="https://publications.waset.org/abstracts/9035/the-representation-of-j-d-salingers-views-on-changes-in-american-society-in-the-1940s-in-the-catcher-in-the-rye" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/9035.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">321</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">2993</span> Dominican Representation in Introductory Level Spanish Textbooks in the United States</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sheridan%20Wigginton">Sheridan Wigginton</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This research project investigates the representation of Dominicans and Dominican culture in nine widely-used Spanish textbooks in universities and colleges in the United States. The project uses the “culture” standard established by the American Council on the Teaching of Foreign Languages to examine the texts. The organization, commonly referred to by its acronym ACTFL, describes products as books, tools, foods, laws, music, and games; practices as patterns of social interactions; and perspectives as meanings, attitudes, values, and ideas. The content analysis of the texts will also specifically include visual analysis of the physical representation of the people depicted in Dominican-themed culture activities to more clearly integrate issues of color and national identity into the discussion. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=blackness" title="blackness">blackness</a>, <a href="https://publications.waset.org/abstracts/search?q=culture" title=" culture"> culture</a>, <a href="https://publications.waset.org/abstracts/search?q=Dominican%20republic" title=" Dominican republic"> Dominican republic</a>, <a href="https://publications.waset.org/abstracts/search?q=foreign%20language%20education" title=" foreign language education"> foreign language education</a>, <a href="https://publications.waset.org/abstracts/search?q=national%20identity" title=" national identity"> national identity</a>, <a href="https://publications.waset.org/abstracts/search?q=Spanish" title=" Spanish"> Spanish</a>, <a href="https://publications.waset.org/abstracts/search?q=textbooks" title=" textbooks"> textbooks</a> </p> <a href="https://publications.waset.org/abstracts/151660/dominican-representation-in-introductory-level-spanish-textbooks-in-the-united-states" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/151660.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">89</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">2992</span> To Estimate the Association between Visual Stress and Visual Perceptual Skills</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Vijay%20Reena%20Durai">Vijay Reena Durai</a>, <a href="https://publications.waset.org/abstracts/search?q=Krithica%20Srinivasan"> Krithica Srinivasan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Introduction: The two fundamental skills involved in the growth and wellbeing of any child can be categorized into visual motor and perceptual skills. Visual stress is a disorder which is characterized by visual discomfort, blurred vision, misspelling words, skipping lines, letters bunching together. There is a need to understand the deficits in perceptual skills among children with visual stress. Aim: To estimate the association between visual stress and visual perceptual skills Objective: To compare visual perceptual skills of children with and without visual stress Methodology: Children between 8 to 15 years of age participated in this cross-sectional study. All children with monocular visual acuity better than or equal to 6/6 were included. Visual perceptual skills were measured using test for visual perceptual skills (TVPS) tool. Reading speed was measured with the chosen colored overlay using Wilkins reading chart and pattern glare score was estimated using a 3cpd gratings. Visual stress was defined as change in reading speed of greater than or equal to 10% and a pattern glare score of greater than or equal to 4. Results: 252 children participated in this study and the male: female ratio of 3:2. Majority of the children preferred Magenta (28%) and Yellow (25%) colored overlay for reading. There was a significant difference between the two groups (MD=1.24±0.6) (p<0.04, 95% CI 0.01-2.43) only in the sequential memory skills. The prevalence of visual stress in this group was found to be 31% (n=78). Binary logistic regression showed that odds ratio of having poor visual perceptual skills was OR: 2.85 (95% CI 1.08-7.49) among children with visual stress. Conclusion: Children with visual stress are found to have three times poorer visual perceptual skills than children without visual stress. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=visual%20stress" title="visual stress">visual stress</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20perceptual%20skills" title=" visual perceptual skills"> visual perceptual skills</a>, <a href="https://publications.waset.org/abstracts/search?q=colored%20overlay" title=" colored overlay"> colored overlay</a>, <a href="https://publications.waset.org/abstracts/search?q=pattern%20glare" title=" pattern glare"> pattern glare</a> </p> <a href="https://publications.waset.org/abstracts/41580/to-estimate-the-association-between-visual-stress-and-visual-perceptual-skills" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/41580.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">388</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">2991</span> Queerness and Gender Representation Through the Lens of Five Ghanaian Artists</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sela%20Adjei">Sela Adjei</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This research delves into the nuanced representations of queerness in Ghana, presented through photographs, illustrations, film and music videos on social media and streaming platforms. The study focuses on the works of five Ghanaian artists (Va-Bene Elikem Fiatsi, Angel Maxine, Josephine Kuuire, Bright Ackwerh and Philip Nee Whang) within the context of Ghana's evolving media landscape. Of primary concern is a need to uncover the various aspects of queerness captured within the distinct artistic expressions of these five creatives. This study adopts a qualitative approach by analyzing artistic expressions of queerness in Ghana’s digital media spaces. Content analysis and visual semiotics served as the guiding tools to discuss and decipher the nuanced messages embedded in their works, considering both the visual and narrative aspects. This dual approach takes into account both the visual aesthetics and narrative elements, enhancing our understanding of the complex interplay between queerness and gender representation in the media. This study's contribution is twofold. First, it enriches the discourse surrounding queerness as portrayed by artists within Ghana's vibrant media landscape and situates their works within the broader discourse of global gender identities. Secondly, analyzing the creative output of these five Ghanaian artists broadens our understanding of gender minorities and the various challenges they face in Ghana (currently debating in parliament to pass an anti-LGBTQ+ bill that criminalizes activities related to gender minority groups). While focusing on the intersection of queerness, art, and gender identities, the reflections in this study challenge existing narratives and offer fresh insights into how these artists navigate and challenge societal norms through their creative expressions. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=queer" title="queer">queer</a>, <a href="https://publications.waset.org/abstracts/search?q=film" title=" film"> film</a>, <a href="https://publications.waset.org/abstracts/search?q=representation" title=" representation"> representation</a>, <a href="https://publications.waset.org/abstracts/search?q=streaming" title=" streaming"> streaming</a>, <a href="https://publications.waset.org/abstracts/search?q=media" title=" media"> media</a>, <a href="https://publications.waset.org/abstracts/search?q=gender" title=" gender"> gender</a> </p> <a href="https://publications.waset.org/abstracts/177109/queerness-and-gender-representation-through-the-lens-of-five-ghanaian-artists" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/177109.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">61</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">2990</span> Post Liberal Perspective on Minorities Visibility in Contemporary Visual Culture: The Case of Mizrahi Jews</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Merav%20Alush%20Levron">Merav Alush Levron</a>, <a href="https://publications.waset.org/abstracts/search?q=Sivan%20Rajuan%20Shtang"> Sivan Rajuan Shtang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> From as early as their emergence in Europe and the US, postmodern and post-colonial paradigm have formed the backbone of the visual culture field of study. The self-representation project of political minorities is studied, described and explained within the premises and perspectives drawn from these paradigms, addressing the key issues they had raised: modernism’s crisis of representation. The struggle for self-representation, agency and multicultural visibility sought to challenge the liberal pretense of universality and equality, hitting at its different blind spots, on issues such as class, gender, race, sex, and nationality. This struggle yielded subversive identity and hybrid performances, including reclaiming, mimicry and masquerading. These performances sought to defy the uniform, universal self, which forms the basis for the liberal, rational, enlightened subject. The argument of this research runs that this politics of representation itself is confined within liberal thought. Alongside post-colonialism and multiculturalism’s contribution in undermining oppressive structures of power, generating diversity in cultural visibility, and exposing the failure of liberal colorblindness, this subversion is constituted in the visual field by way of confrontation, flying in the face of the universal law and relying on its ongoing comparison and attribution to this law. Relying on Deleuze and Guattari, this research set out to draw theoretic and empiric attention to an alternative, post-liberal occurrence which has been taking place in the visual field in parallel to the contra-hegemonic phase and as a product of political reality in the aftermath of the crisis of representation. It is no longer a counter-representation; rather, it is a motion of organic minor desire, progressing in the form of flows and generating what Deleuze and Guattari termed deterritorialization of social structures. This discussion shall have its focus on current post-liberal performances of ‘Mizrahim’ (Jewish Israelis of Arab and Muslim extraction) in the visual field in Israel. In television, video art and photography, these performances challenge the issue of representation and generate concrete peripheral Mizrahiness, realized in the visual organization of the photographic frame. Mizrahiness then transforms from ‘confrontational’ representation into a 'presence', flooding the visual sphere in our plain sight, in a process of 'becoming'. The Mizrahi desire is exerted on the plains of sound, spoken language, the body and the space where they appear. It removes from these plains the coding and stratification engendered by European dominance and rational, liberal enlightenment. This stratification, adhering to the hegemonic surface, is flooded not by way of resisting false consciousness or employing hybridity, but by way of the Mizrahi identity’s own productive, material immanent yearning. The Mizrahi desire reverberates with Mizrahi peripheral 'worlds of meaning', where post-colonial interpretation almost invariably identifies a product of internalized oppression, and a recurrence thereof, rather than a source in itself - an ‘offshoot, never a wellspring’, as Nissim Mizrachi clarifies in his recent pioneering work. The peripheral Mizrahi performance ‘unhook itself’, in Deleuze and Guattari words, from the point of subjectification and interpretation and does not correspond with the partialness, absence, and split that mark post-colonial identities. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=desire" title="desire">desire</a>, <a href="https://publications.waset.org/abstracts/search?q=minority" title=" minority"> minority</a>, <a href="https://publications.waset.org/abstracts/search?q=Mizrahi%20Jews" title=" Mizrahi Jews"> Mizrahi Jews</a>, <a href="https://publications.waset.org/abstracts/search?q=post-colonialism" title=" post-colonialism"> post-colonialism</a>, <a href="https://publications.waset.org/abstracts/search?q=post-liberalism" title=" post-liberalism"> post-liberalism</a>, <a href="https://publications.waset.org/abstracts/search?q=visibility" title=" visibility"> visibility</a>, <a href="https://publications.waset.org/abstracts/search?q=Deleuze%20and%20Guattari" title=" Deleuze and Guattari"> Deleuze and Guattari</a> </p> <a href="https://publications.waset.org/abstracts/63795/post-liberal-perspective-on-minorities-visibility-in-contemporary-visual-culture-the-case-of-mizrahi-jews" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/63795.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">324</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">2989</span> The Contribution of Lower Visual Channels and Evolutionary Origin of the Tunnel Effect</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shai%20Gabay">Shai Gabay</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The tunnel effect describes the phenomenon where a moving object seems to persist even when temporarily hidden from view. Numerous studies indicate that humans, infants, and nonhuman primates possess object persistence, relying on spatiotemporal cues to track objects that are dynamically occluded. While this ability is associated with neural activity in the cerebral neocortex of humans and mammals, the role of subcortical mechanisms remains ambiguous. In our current investigation, we explore the functional contribution of monocular aspects of the visual system, predominantly subcortical, to the representation of occluded objects. This is achieved by manipulating whether the reappearance of an object occurs in the same or different eye from its disappearance. Additionally, we employ Archerfish, renowned for their precision in dislodging insect prey with water jets, as a phylogenetic model to probe the evolutionary origins of the tunnel effect. Our findings reveal the active involvement of subcortical structures in the mental representation of occluded objects, a process evident even in species that do not possess cortical tissue. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=archerfish" title="archerfish">archerfish</a>, <a href="https://publications.waset.org/abstracts/search?q=tunnel%20effect" title=" tunnel effect"> tunnel effect</a>, <a href="https://publications.waset.org/abstracts/search?q=mental%20representations" title=" mental representations"> mental representations</a>, <a href="https://publications.waset.org/abstracts/search?q=monocular%20channels" title=" monocular channels"> monocular channels</a>, <a href="https://publications.waset.org/abstracts/search?q=subcortical%20structures" title=" subcortical structures"> subcortical structures</a> </p> <a href="https://publications.waset.org/abstracts/185847/the-contribution-of-lower-visual-channels-and-evolutionary-origin-of-the-tunnel-effect" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/185847.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">45</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">2988</span> Innovative Pictogram Chinese Characters Representation</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=J.%20H.%20Low">J. H. Low</a>, <a href="https://publications.waset.org/abstracts/search?q=S.%20H.%20Hew"> S. H. Hew</a>, <a href="https://publications.waset.org/abstracts/search?q=C.%20O.%20Wong"> C. O. Wong</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper proposes an innovative approach to represent the pictogram Chinese characters. The advantage of this representation is using an extraordinary to represent the pictogram Chinese character. This extraordinary representation is created accordingly to the original pictogram Chinese characters revolution. The purpose of this innovative creation is to assistant the learner learning Chinese as second language (SCL) in Chinese language learning specifically on memorize Chinese characters. Commonly, the SCL will give up and frustrate easily while memorize the Chinese characters by rote. So, our innovative representation is able to help on memorize the Chinese character by the help of visually storytelling. This innovative representation enhances the Chinese language learning experience of SCL. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chinese%20e-learning" title="Chinese e-learning">Chinese e-learning</a>, <a href="https://publications.waset.org/abstracts/search?q=innovative%20Chinese%20character%20representation" title=" innovative Chinese character representation"> innovative Chinese character representation</a>, <a href="https://publications.waset.org/abstracts/search?q=knowledge%20management" title=" knowledge management"> knowledge management</a>, <a href="https://publications.waset.org/abstracts/search?q=language%20learning" title=" language learning"> language learning</a> </p> <a href="https://publications.waset.org/abstracts/4346/innovative-pictogram-chinese-characters-representation" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/4346.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">487</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">2987</span> Getting Back Out There Looking like That: A Visual Critique of Rebecca Welton’s Costuming in Reference to Female Representation in Television</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Abigail%20R.%20Gardner">Abigail R. Gardner</a> </p> <p class="card-text"><strong>Abstract:</strong></p> With the rise of big budget television comes a demand for more nuanced characters. However, female characters are often underdeveloped, especially those who do not fit neatly into societal norms. This study examines how Ted Lasso’s Rebecca Welton challenges this idea by using her on-screen fashion to mirror her motivations and character development. Through detailed analysis, this research explores how Rebecca’s wardrobe adds depth to her character, contrasting traditional strategies of costuming female characters in mainstream movies and television. While women, especially older women, are getting more screen time, very few have been given a wardrobe to reflect their dynamic characters. Rebecca’s costumes represent a form of visual storytelling typically reserved for film, but with the rise of single-camera television, there is an opportunity to redefine the relationship between women and fashion on screen. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=costume%20design" title="costume design">costume design</a>, <a href="https://publications.waset.org/abstracts/search?q=gender%20and%20media" title=" gender and media"> gender and media</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20storytelling" title=" visual storytelling"> visual storytelling</a>, <a href="https://publications.waset.org/abstracts/search?q=women%20in%20television" title=" women in television"> women in television</a> </p> <a href="https://publications.waset.org/abstracts/191201/getting-back-out-there-looking-like-that-a-visual-critique-of-rebecca-weltons-costuming-in-reference-to-female-representation-in-television" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/191201.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">17</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">2986</span> Bag of Local Features for Person Re-Identification on Large-Scale Datasets</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yixiu%20Liu">Yixiu Liu</a>, <a href="https://publications.waset.org/abstracts/search?q=Yunzhou%20Zhang"> Yunzhou Zhang</a>, <a href="https://publications.waset.org/abstracts/search?q=Jianning%20Chi"> Jianning Chi</a>, <a href="https://publications.waset.org/abstracts/search?q=Hao%20Chu"> Hao Chu</a>, <a href="https://publications.waset.org/abstracts/search?q=Rui%20Zheng"> Rui Zheng</a>, <a href="https://publications.waset.org/abstracts/search?q=Libo%20Sun"> Libo Sun</a>, <a href="https://publications.waset.org/abstracts/search?q=Guanghao%20Chen"> Guanghao Chen</a>, <a href="https://publications.waset.org/abstracts/search?q=Fangtong%20Zhou"> Fangtong Zhou</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the last few years, large-scale person re-identification has attracted a lot of attention from video surveillance since it has a potential application prospect in public safety management. However, it is still a challenging job considering the variation in human pose, the changing illumination conditions and the lack of paired samples. Although the accuracy has been significantly improved, the data dependence of the sample training is serious. To tackle this problem, a new strategy is proposed based on bag of visual words (BoVW) model of designing the feature representation which has been widely used in the field of image retrieval. The local features are extracted, and more discriminative feature representation is obtained by cross-view dictionary learning (CDL), then the assignment map is obtained through k-means clustering. Finally, the BoVW histograms are formed which encodes the images with the statistics of the feature classes in the assignment map. Experiments conducted on the CUHK03, Market1501 and MARS datasets show that the proposed method performs favorably against existing approaches. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=bag%20of%20visual%20words" title="bag of visual words">bag of visual words</a>, <a href="https://publications.waset.org/abstracts/search?q=cross-view%20dictionary%20learning" title=" cross-view dictionary learning"> cross-view dictionary learning</a>, <a href="https://publications.waset.org/abstracts/search?q=person%20re-identification" title=" person re-identification"> person re-identification</a>, <a href="https://publications.waset.org/abstracts/search?q=reranking" title=" reranking"> reranking</a> </p> <a href="https://publications.waset.org/abstracts/85908/bag-of-local-features-for-person-re-identification-on-large-scale-datasets" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/85908.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">195</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">2985</span> PatchMix: Learning Transferable Semi-Supervised Representation by Predicting Patches</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Arpit%20Rai">Arpit Rai</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In this work, we propose PatchMix, a semi-supervised method for pre-training visual representations. PatchMix mixes patches of two images and then solves an auxiliary task of predicting the label of each patch in the mixed image. Our experiments on the CIFAR-10, 100 and the SVHN dataset show that the representations learned by this method encodes useful information for transfer to new tasks and outperform the baseline Residual Network encoders by on CIFAR 10 by 12% on ResNet 101 and 2% on ResNet-56, by 4% on CIFAR-100 on ResNet101 and by 6% on SVHN dataset on the ResNet-101 baseline model. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=self-supervised%20learning" title="self-supervised learning">self-supervised learning</a>, <a href="https://publications.waset.org/abstracts/search?q=representation%20learning" title=" representation learning"> representation learning</a>, <a href="https://publications.waset.org/abstracts/search?q=computer%20vision" title=" computer vision"> computer vision</a>, <a href="https://publications.waset.org/abstracts/search?q=generalization" title=" generalization"> generalization</a> </p> <a href="https://publications.waset.org/abstracts/150013/patchmix-learning-transferable-semi-supervised-representation-by-predicting-patches" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/150013.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">89</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">2984</span> A Software Tool for Computer Forensic Investigation Using Client-Side Web History Visualization</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Francisca%20Onaolapo%20Oladipo">Francisca Onaolapo Oladipo</a>, <a href="https://publications.waset.org/abstracts/search?q=Peter%20Afam%20Ugwu"> Peter Afam Ugwu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Records of user activities which are valuable for forensic investigation purposes are provided by web browsers -these records in most cases are not in visual formats that are easily understood, thereby requiring some extra processes. This paper describes the implementation of a software tool for client-side web history visualization providing suitable forensic evidence for investigative purposes. Visual C#, Perl and gnuplot were deployed on Windows Operating System (OS) environment to implement the system and the resulting tool parses and transforms a web browser history into a visual format that enables an investigator to quickly and efficiently explore, understand, and interpret the user online activities in the context of a specific investigation. The system was tested using two forensic cases: the client-side web history files generated by Mozilla Firefox browser was extracted using MozillaHistoryView utility, then parsed and visualized using bar and stacked column charts. From the visual representation, results of user web activities across various productive and non-productive websites were obtained. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=history" title="history">history</a>, <a href="https://publications.waset.org/abstracts/search?q=forensics" title=" forensics"> forensics</a>, <a href="https://publications.waset.org/abstracts/search?q=visualization" title=" visualization"> visualization</a>, <a href="https://publications.waset.org/abstracts/search?q=web%20activities" title=" web activities"> web activities</a> </p> <a href="https://publications.waset.org/abstracts/51348/a-software-tool-for-computer-forensic-investigation-using-client-side-web-history-visualization" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/51348.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">296</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">2983</span> The Involvement of Visual and Verbal Representations Within a Quantitative and Qualitative Visual Change Detection Paradigm</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Laura%20Jenkins">Laura Jenkins</a>, <a href="https://publications.waset.org/abstracts/search?q=Tim%20Eschle"> Tim Eschle</a>, <a href="https://publications.waset.org/abstracts/search?q=Joanne%20Ciafone"> Joanne Ciafone</a>, <a href="https://publications.waset.org/abstracts/search?q=Colin%20Hamilton"> Colin Hamilton</a> </p> <p class="card-text"><strong>Abstract:</strong></p> An original working memory model suggested the separation of visual and verbal systems in working memory architecture, in which only visual working memory components were used during visual working memory tasks. It was later suggested that the visuo spatial sketch pad was the only memory component at use during visual working memory tasks, and components such as the phonological loop were not considered. In more recent years, a contrasting approach has been developed with the use of an executive resource to incorporate both visual and verbal representations in visual working memory paradigms. This was supported using research demonstrating the use of verbal representations and an executive resource in a visual matrix patterns task. The aim of the current research is to investigate the working memory architecture during both a quantitative and a qualitative visual working memory task. A dual task method will be used. Three secondary tasks will be used which are designed to hit specific components within the working memory architecture – Dynamic Visual Noise (visual components), Visual Attention (spatial components) and Verbal Attention (verbal components). A comparison of the visual working memory tasks will be made to discover if verbal representations are at use, as the previous literature suggested. This direct comparison has not been made so far in the literature. Considerations will be made as to whether a domain specific approach should be employed when discussing visual working memory tasks, or whether a more domain general approach could be used instead. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=semantic%20organisation" title="semantic organisation">semantic organisation</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20memory" title=" visual memory"> visual memory</a>, <a href="https://publications.waset.org/abstracts/search?q=change%20detection" title=" change detection"> change detection</a> </p> <a href="https://publications.waset.org/abstracts/22696/the-involvement-of-visual-and-verbal-representations-within-a-quantitative-and-qualitative-visual-change-detection-paradigm" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/22696.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">595</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">2982</span> Architectural Visualization: From Ancient Civilizations to the Roman Empire</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Matthias%20Stange">Matthias Stange</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Architectural visualization has been practiced for as long as there have been buildings. Visualization (lat.: visibilis "visible") generally refers to bringing abstract data and relationships into a graphically, visually comprehensible form. Particularly, visualization refers to the process of translating relationships that are difficult to formulate linguistically or logically into visual media (e.g., drawings or models) to make them comprehensible. Building owners have always been interested in knowing how their building will look before it is built. In the empirical part of this study, the roots of architectural visualization are examined, starting from the ancient civilizations to the end of the Roman Empire. Extensive literature research on architectural theory and architectural history forms the basis for this analysis. The focus of the analysis is basic research from the emergence of the first two-dimensional drawings in the Neolithic period to the triggers of significant further developments of architectural representation, as well as their importance for subsequent methods and the transmission of knowledge over the following epochs. The analysis focuses on the development of analog methods of representation from the first Neolithic house floor plans to the Greek detailed stone models and paper drawings in the Roman Empire. In particular, the question of socio-cultural, socio-political, and economic changes as possible triggers for the development of representational media and methods will be analyzed. The study has shown that the development of visual building representation has been driven by scientific, technological, and social developments since the emergence of the first civilizations more than 6000 years ago first by the change in human’s subsistence strategy, from food appropriation by hunting and gathering to food production by agriculture and livestock, and the sedentary lifestyle required for this. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=ancient%20Greece" title="ancient Greece">ancient Greece</a>, <a href="https://publications.waset.org/abstracts/search?q=ancient%20orient" title=" ancient orient"> ancient orient</a>, <a href="https://publications.waset.org/abstracts/search?q=Roman%20Empire" title=" Roman Empire"> Roman Empire</a>, <a href="https://publications.waset.org/abstracts/search?q=architectural%20visualization" title=" architectural visualization"> architectural visualization</a> </p> <a href="https://publications.waset.org/abstracts/161856/architectural-visualization-from-ancient-civilizations-to-the-roman-empire" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/161856.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">116</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">2981</span> Manufacturing the Authenticity of Dokkaebi’s Visual Representation in Tourist Marketing</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mikyung%20Bak">Mikyung Bak</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The dokkaebi, a beloved icon of Korean culture, is represented as an elf, goblin, monster, dwarf, or any similar creature in different media, such as animated shows, comics, soap operas, and movies. It is often described as a mythical creature with a horn or horns and long teeth, wearing tiger-skin pants or a grass skirt, and carrying a magic stick. Many Korean researchers agree on the similarity of the image of the Korean dokkaebi with that of the Japanese oni, a view that is regard as negative from an anti-colonial or nationalistic standpoint. They cite such similarity between the two mythical creatures as evidence that Japanese colonialism persists in Korea. The debate on the originality of dokkaebi’s visual representation is an issue that must be addressed urgently. This research demonstrates through a diagram the plurality of interpretations of dokkaebi’s visual representations in what are considered ‘authentic’ images of dokkaebi in Korean art and culture. This diagram presents the opinions of four major groups in the debate, namely, the scholars of Korean literature and folklore, art historians, authors, and artists. It also shows the creation of new dokkaebi visual representations in popular media, including those influenced by the debate. The diagram further proves that dokkaebi’s representations varied, which include the typical persons or invisible characters found in Korean literature, original Korean folk characters in traditional art, and even universal spirit characters. They are also visually represented by completely new creatures as well as oni-based mythical beings and the actual oni itself. The earlier dokkaebi representations were driven by the creation of a national ideology or national cultural paradigm and, thus, were more uniform and protected. In contrast, the more recent representations are influenced by the Korean industrial strategy of ‘cultural economics,’ which is concerned with the international rather than the domestic market. This recent Korean cultural strategy emphasizes diversity and commonality with the global culture rather than originality and locality. It employs traditional cultural resources to construct a global image. Consequently, dokkaebi’s recent representations have become more common and diverse, thereby incorporating even oni’s characteristics. This argument has rendered the grounds of the debate irrelevant. The dokkaebi has been used recently for tourist marketing purposes, particularly in revitalizing interest in regions considered the cradle of various traditional dokkaebi tales. These campaign strategies include the Jeju-do Dokkaebi Park, Koksung Dokkaebi Land, as well as the Taebaek and Sokri-san Dokkaebi Festivals. Almost dokkaebi characters are identical to the Japanese oni in tourist marketing. However, the pursuit for dokkaebi’s authentic visual representation is less interesting and fruitful than the appreciation of the entire spectrum of dokkaebi images that have been created. Thus, scholars and stakeholders must not exclude the possibilities for a variety of potentials within the visual culture. The same sentiment applies to traditional art and craft. This study aims to contribute to a new visualization of the dokkaebi that embraces the possibilities of both folk craft and art, which continue to be uncovered by diverse and careful researchers in a still-developing field. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Dokkaebi" title="Dokkaebi">Dokkaebi</a>, <a href="https://publications.waset.org/abstracts/search?q=post-colonial%20period" title=" post-colonial period"> post-colonial period</a>, <a href="https://publications.waset.org/abstracts/search?q=representation" title=" representation"> representation</a>, <a href="https://publications.waset.org/abstracts/search?q=tourist%20marketing" title=" tourist marketing"> tourist marketing</a> </p> <a href="https://publications.waset.org/abstracts/36832/manufacturing-the-authenticity-of-dokkaebis-visual-representation-in-tourist-marketing" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/36832.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">278</span> </span> </div> </div> <ul class="pagination"> <li class="page-item disabled"><span class="page-link">&lsaquo;</span></li> <li class="page-item active"><span class="page-link">1</span></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=visual%20representation&page=2">2</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=visual%20representation&page=3">3</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=visual%20representation&page=4">4</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=visual%20representation&page=5">5</a></li> <li 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