Virtual Prehistory portable art collection of Siberian Mal’ta-Buret’ culture: ways of documenting, classification and representation

The task of building high-quality three-dimensional (3D) models of objects is relevant, since such 3D models are widely used in various fields of science, technology and medicine. In this work, the construction of 3D models is performed by the photogrammetry method, which consists in the construction of a 3D model of an object based on a series of its photographs. The advantages of the photogrammetry method are low hardware requirements and relatively high accuracy. To build 3D models of objects by photogrammetry, the 3DF Zephyr program was used, which contains a set of tools for pre-processing images, reconstructing 3D models, editing and measuring the dimensions of 3D models, and exporting the obtained models. The principles of building three-dimensional models of objects by the method of photogrammetry based on initial images are considered. The main stages of building 3D models are described: calculation of sparse point cloud, key points, dense point cloud, polygon grid, texture grid. Model parameters are also edited and analyzed. An expert system was developed in the CLIPS environment to select the correct modes for building a 3D model. The knowledge base of the expert system contains production rules that allow you to establish the correct modes of building a 3D model based on the initial facts. 30 facts-conditions have been developed that describe the conditions for building a three-dimensional model. 20 facts-consequences and 15 facts-recommendations for building a 3D model have been developed. Using the developed rules, 36 production rules were built. Experimental verification of the developed system was carried out. Three-dimensional models of objects were built using the 3DF Zephyr program. After entering the facts that describe the process of obtaining the model into the expert system, a number of recommendations were obtained, in particular, to increase the area of textured surfaces and use uniform lighting of objects. After following these recommendations, the model was built with satisfactory accuracy.

Three-dimensional models of objects are widely used in various fields, including science, construction, healthcare, and entertainment, making the task of creating such models highly relevant. The primary goal of this paper is to develop a mobile application which uses photogrammetry methods for capturing real-world three-dimensional objects or environments. The main advantage of photogrammetry is low hardware requirements with relatively high accuracy of the models obtained. Additionally, the application utilizes smartphone’s LiDAR sensor to enhance capture quality, especially for low-textured objects. The LiDAR sensor allows for precise distance measurement between the device and the object, which is crucial for accurately capturing the object’s size and position. To build 3D model of the object from a series of images, the application uses Object Capture API, available on iOS, iPadOS, and macOS operating systems. This API fully leverages the build-in GPU and Neural Processing Unit to build and tessellate the point cloud and generate the polygonal mesh model. The application was developed for iPhones that support LiDAR sensor, using Swift programming language, SwiftUI for the user interface, and RealityKit for Object Capture API. The app features three modes: object capturing, model reconstruction and model preview. To simplify the process of capturing the object, the app can automatically take photos of the object, provide the user with guidance and recommendations on optimal lighting conditions, camera positioning, and a preview of the point cloud. Once object capture is complete, the application transitions to the reconstruction mode, which uses captured photos and point cloud data. This process involves image alignment, detailed point cloud generation, polygonal mesh model generation, texture and normal map generation, and model optimization. After reconstruction, the user can obtain model in the USDZ file format and preview it using built-in system tools. Following these steps, two test models of a drum and a garden statue were built with satisfactory quality and accuracy, while maintaining the original size of the scanned objects. The resulting three-dimensional polygonal models can be successfully exported to various 3D editors and programs.

Although ‘refugees’ are frequently represented in visual media, it is predominantly as the central subject matter and rarely are they positioned as the photographers of their own journeys. In this article, we present photographic images that have been taken by refugee background youth portraying their experiences of the first years of settlement in Australia. We consider how, in our longitudinal research conducted with 120 refugee background youth, visual materials can provide equally important yet different insights in comparison to written or spoken narratives on the experiences of refugee settlement. Through an examination of the photograph’s visual content, we explore the ways in which they portrayed their early experiences of external suburban settlement environments and their depictions of interior spaces and home-making practices. We discuss how these visual insights capture an alternative way of seeing the experiences of becoming at home as the youth become emplaced post-resettlement in Australia. We argue that the photographs taken by these refugee background youth illustrate how visual methods and materials can provide equally important but often overlooked insights into early settlement experiences. Importantly, the photographic images offer a way of portraying the people, places and sentiments that are central to the everyday lives of refugee background youths in ways that oral and written narratives cannot.

Viewpoint effects on object recognition interact with object-scene consistency effects. While recognition of objects seen from "noncanonical" viewpoints (e.g., a cup from below) is typically impeded compared to processing of objects seen from canonical viewpoints (e.g., the string-side of a guitar), this effect is reduced by meaningful scene context information. In the present study we investigated if these findings established by using photographic images, generalize to strongly noncanonical orientations of three-dimensional (3D) models of objects. Using 3D models allowed us to probe a broad range of viewpoints and empirically establish viewpoints with very strong noncanonical and canonical orientations. In Experiment 1, we presented 3D models of objects from six different viewpoints (0°, 60°, 120°, 180° 240°, 300°) in color (1a) and grayscaled (1b) in a sequential matching task. Viewpoint had a significant effect on accuracy and response times. Based on the viewpoint effect in Experiments 1a and 1b, we could empirically determine the most canonical and noncanonical viewpoints from our set of viewpoints to use in Experiment 2. In Experiment 2, participants again performed a sequential matching task, however now the objects were paired with scene backgrounds which could be either consistent (e.g., a cup in the kitchen) or inconsistent (e.g., a guitar in the bathroom) to the object. Viewpoint interacted significantly with scene consistency in that object recognition was less affected by viewpoint when consistent scene information was provided, compared to inconsistent information. Our results show that scene context supports object recognition even when using extremely noncanonical orientations of depth rotated 3D objects. This supports the important role object-scene processing plays for object constancy especially under conditions of high uncertainty.

A tradition of martyr photography flourished during Mexico’s religiously motivated Cristero War (1926–29). Graphic photographic prints and postcards depicting executed Catholic activists and priests circulated widely during the conflict as a form of antigovernment propaganda, justifying comparisons of the Cristeros to the earliest persecuted Christians. Taking into account the iconographic and material features of these photographs as well as the medium’s particular ontological qualities, I explore how Cristero martyr images fulfilled comparable functions to early martyr narratives and relics by providing a compelling visual testimony and material trace of the martyr’s sacrifice. In these photographic images, the testimonial value and heightened verisimilitude of the early martyr text finds a parallel in a graphic documentary visual language that emerged with the increased mediatization of violence during the Revolution (1910–17). At the same time, these visual mementos sought to appeal to viewers on an affective level by drawing from long-standing iconographic vocabularies and material modes of devotional experience, most notably the tactile intimacy of the portable relic. Approaching the Cristero conflict from the analytical perspectives of visual culture and material religion, my research sheds new light on how Catholic activists conceptualized and justified violent sacrifice in their struggle for religious freedom while also making novel contributions to the history of Mexican photography. These complex visual artifacts reveal how Cristero propagandists utilized familiar religious images and concepts to provide a meaningful religious framework for their activism while also adapting strategies of martyr memorialization to the age of mechanical reproduction.

Bir reklam yüzeyinde ürünün ya da hizmetin ne olduğu günümüzde genelde fotoğrafik görsellerle ifade edilmektedir. Bu bağlamla reklam fotoğrafçılığı işinin reklam tasarımının ana fikrinin belirlenmesinde önemli rolü vardır. Reklam fotoğrafçılığı, fotoğraf çekim yöntemlerinin ve teknolojilerinin tamamından yararlanılan bir alandır. Yiyecek fotoğrafçılığı da reklam fotoğraflarının bir kısmını oluşturur. Gıda ve gastronomi alanında faaliyet gösteren ister dünya çapında olsun, ister yerel olsun birçok marka ürünlerini öncelikle görsel materyallerle tanıtmaktadır. Dolayısıyla gıda fotoğrafçılığı gıda konusunda markalaşma için büyük öneme sahiptir. Fakat reklamı yapılan ürün sadece fotoğraf çekimiyle yeterli kalmamaktadır. Reklamın çekimleri; yapılan çekimin işlenmesinden, tasarım ve yayın sürecine kadar birçok grafik düzenlemeden geçmektedir. Birçok reklam çekiminde olduğu gibi yiyecek konusunda yapılacak reklam çekimlerinde çekimin yayınlanacağı mecra önemlidir. Bu yüzden yiyecek çekimlerinde ürünün yayınlanacağı reklamın gösterim şekli değişmektedir. Dolayısıyla yiyecek fotoğraflarının içerik bağlamında niteliğini ve çekim şeklini yayınlanacak mecraya göre grafik anlatım kuralları şekillendirmektedir. Bu araştırmada gastronomi alanında çekilen bazı reklam fotoğraf örnekleriyle grafik tasarım öğelerinin birlikte değerlendirilmesi yapılmıştır. Değerlendirme kapsamında dünyanın değişik yerlerinden gıda temalı reklam çalışmaları seçilmiştir. Seçilen görsellerdeki grafik ve fotoğraf temaları ayrıştırılmak suretiyle elde edilen bilgiler reklam ve yiyecek fotoğrafçılığı arasındaki ilişkiyi açıklamayı amaçlamaktadır. Ayrıca bu araştırma yiyecek fotoğrafçılığı ve grafik alanındaki literatüre katkı sağlamak amacıyla hazırlanmıştır.

This paper intends to describe how five young women, ranging from 24 to 35 years of age, college graduates and professionals, belonging to the middle classes of So Paulo, Brazil, perceive the dimensions of being a woman in their everyday lives and how they represent their experience through photographs taken by themselves. Because photographic image is ever so present in the contemporary context, and as a way of including the subjects in the research through an action of their own, I chose to work with photos. The participants were told to take pictures of their experiences as women, and these images guided the follow-up interviews. Those interviews were made in the intent of amplifying my understanding regarding the visual material in a more ample discursive context referring to gender identity and gender relations.

To the Editor. This letter is in response to a recently published letter by Drs Rosenbloom and Tanner regarding Tanner staging and child pornography. Their letter states that chronologic age cannot be accurately determined via Tanner staging. Therefore, physicians should refrain from testifying in court as to chronologic age based on Tanner staging. If anyone has testified to a specific chronologic age based on Tanner staging, Drs Rosenbloom and Tanner's letter is appropriate criticism. However, one should not conclude that Tanner staging is not useful in child pornography cases. According to revised federal statutes regarding child pornography, an individual in question need only have the appearance of a minor.1 “Minor” is further defined as <18 years of age. In assessing an individual as having the appearance of a child, it is reasonable to use an assessment of the individual's general appearance as well as breast, genital, and pubic hair Tanner stage. An assessment of upper to lower body segment ratio can also be attempted. Dr Tanner published an article regarding height velocities that contained centiles for age of onset of various maturational stages.2 These centiles were superimposed on the chronologic age axis of the height velocity charts. Related data was also published by Barnes.3 From this data one gets a fairly good idea as to the age of a child who has not yet experienced the onset of a given maturational characteristic. Most colleagues are very conservative regarding making statements about individuals who appear to be Tanner stage 3 or above. The difficulty of distinguishing between breast stage 3 and 5 in pornographic photos is recognized. It is also understood that Tanner staging does not apply to populations not evaluated and described by Dr Tanner.1 ,4 ,5There is, however, data regarding children in Singapore.6 …

Research Article| December 01 2022 “What does it mean to make a picture of the now?”: The Aesthetics of Co-presence in Maxime Jean-Baptiste’s Nou Voix and Moune Ô Steyn Bergs Steyn Bergs Steyn Bergs is an art historian and critic who works as a lecturer in modern and contemporary art at Utrecht University, The Netherlands. Search for other works by this author on: This Site PubMed Google Scholar Afterimage (2022) 49 (4): 14–25. https://doi.org/10.1525/aft.2022.49.4.14 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Steyn Bergs; “What does it mean to make a picture of the now?”: The Aesthetics of Co-presence in Maxime Jean-Baptiste’s Nou Voix and Moune Ô. Afterimage 1 December 2022; 49 (4): 14–25. doi: https://doi.org/10.1525/aft.2022.49.4.14 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAfterimage Search Maxime Jean-Baptiste’s video work Nou Voix (Our Voices, 2018) opens with a courtroom scene from the 1990 feature film Jean Galmot, aventurier, directed by Alain Maline. The original film by Maline dramatizes the real-life story of French “adventurer” Jean Galmot, who traveled to French Guiana in 1906 with the intention of exploiting a gold mine he had inherited. Galmot would remain in Guiana for the rest of his life and hold several political offices in the French colony up until his murder by poisoning in 1928. Unrest, caused by outrage over Galmot’s murder, ensued in the capital city of Cayenne. The scene from Jean Galmot, aventurier revisited at the beginning of Nou Voix shows the end of a 1931 trial held in Nantes, France, where fourteen Guianese (twelve men and two women), referred to as the insurgés or insurgents, who had been charged with looting and murdering fellow citizens... You do not currently have access to this content.

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Photogrammetry is a mapping method that utilizes photographic images to generate three-dimensional (3D) models. In this study, the photogrammetry method is used to create a 3D model of the STMIK TIME campus buildings to document and visualize the structures digitally. The process of creating the 3D model begins with image acquisition using a digital camera, followed by processing with photogrammetry software to generate point clouds, meshes, and textured models. The final result of this research is a 3D model of the STMIK TIME campus, which can be used for various purposes such as architectural planning, building preservation, and visual simulation. Based on the evaluation conducted, the resulting 3D model demonstrates a high level of accuracy in representing the actual building structure. Thus, the photogrammetry method has proven to be an effective technique for creating 3D building models at a more affordable cost compared to conventional 3D modeling techniques.

BackgroundFacial mutilation and deformities can be caused by cancer, tumours, injuries, infections, and inherited or acquired deformities and has the potential to degrade one’s quality of life by interfering with fundamental tasks like communication, breathing, feeding, and aesthetics.Depending on the type of defect, producing maxillofacial prostheses for the rehabilitation of patients with various defects can be challenging and complex. The prosthesis is used to replace missing or damaged parts of the cranium and face, like the nose, auricle, orbit, and surrounding tissues, as well as missing areas of soft and hard tissue, with the primary goal of increasing the patient’s quality of life by rehabilitating oral functions such as speech, swallowing, and mastication.Traditional maxillofacial prosthesis impression and fabrication processes include a number of complicated steps that are costly, time-consuming, and uncomfortable for the patient. These rely on the knowledge of the maxillofacial team, dental clinicians, and maxillofacial technician.The foundation of the impression is the keystone for creating a prosthesis. However, this is the most time-consuming and difficult chair-side operation in maxillofacial prosthesis manufacturing since it requires prolonged interaction with the patient. The field of prosthesis fabrication is being transformed by the digital revolution. Digital technology allows for more accurate impression data to be gathered in less time (3 to 5 min) than traditional methods, lowering patient anxiety. Digital impressions eliminate the need for messy impression materials and provide patients with a more pleasant experience. This method bypasses the procedure of traditional gypsum model fabrication. This eliminates the disparity caused by a dimensional distortion of the impression material and gypsum setting expansion. Traditional dental impression processes leave enough room for errors, such as voids or flaws, air bubbles, or deformities, while current technology for prosthesis planning has emerged as an alternative means to improve patient acceptability and pleasure, not only because the end result is a precisely fitted restoration but also because the chair-side adjustments required are reduced.The most frequent approaches for creating 3D virtual models are the following. To begin, 3D scanning is employed, in which the subjects are scanned in three dimensions, and the point cloud data is used to create a virtual digital model.MethodsIt will be a hospital-based randomised control trial, carried out at the Department of Prosthodontics, Sharad Pawar Dental College, Sawangi (Meghe), Wardha, a part of Datta Meghe Institute of Medical Sciences (Deemed University). A total of 45 patients will be selected from the outpatient department (OPD) of the Department of Prosthodontics. All the patients will be provided written consent before their participation in the study.Methodology1. Patient screening will be done, and the patient will be allocated to three techniques that are the conventional manual method, photogrammetry method, and 3D scanning in a randomised manner2. The impression of the defect will be recorded by conventional manual method, photogrammetry method, and 3D scanning3. The defect will be modelled in three ways: first is as per the manual dimension taken on the patient, second is the organisation of photographic image taken with lab standards and third is plotting of point cloud data to generate the virtual 3D model4. For photogrammetric prosthesis design, finite photos/images will be taken at multiple angles to model the 3D virtual design. With the use of minimum photographs, the 3D modelling can be performed by using freeware, and a mould is obtained5. The CAD software was used to design the prosthesis, and the final negative mould can be printed using additive manufacturing6. The mould fabricated by all three methods will be analysed by a software using reverse engineering technologyStudy design: Randomised control trialDuration: 2 yearsSample size: 45 patientsDiscussionRodrigo Salazar-Gamarra1, Rosemary Seelaus, and Jorge Vicente Lopes da Silva et al., in the year 2016, discussed, as part of a method for manufacturing face prostheses utilising a mobile device, free software, and a photo capture protocol, that 2D captures of the anatomy of a patient with a facial defect were converted into a 3D model using monoscopic photogrammetry and a mobile device. The visual and technical integrity of the resulting digital models was assessed. The technological approach and models that resulted were thoroughly explained and evaluated for technical and clinical value.Marta Revilla-León, Wael Att, and Dr Med Dent et al. (2020) used a coordinate measuring equipment which was used to assess the accuracy of complete arch implant impression processes utilising conventional, photogrammetry, and intraoral scanning.Corina Marilena Cristache and Ioana Tudor Liliana Moraru et al. in the year 2021 provided an update on defect data acquisition, editing, and design using open-source and commercially available software in digital workflow in maxillofacial prosthodontics.This research looked at randomised clinical trials, case reports, case series, technical comments, letters to the editor, and reviews involving humans that were written in English and included detailed information on data acquisition, data processing software, and maxillofacial prosthetic part design.Trial registrationCTRI/2022/08/044524. Registered on September 16, 2022

The aim of this paper is to reveal the main aspects of studying the subject as a museum source.Research methodology. The theoretical basis for scientific generalizations of this article was the analysis of museological studies of museum sources, proposed by N. G. Samarina and I. B. Khmelnitsky.Results. It is argued that a museum source should be understood as the totality of museum objects and scientific support materials that make up the museum funds. It is established that the priority of museum research activities is the study of the museum subject as an artifact — a code and a sign of the past. It is noted that in the process of studying, properties of museum objects (collections, collections) are identified as sources of knowledge, emotions, as cultural, historical or natural values. It is emphasized that the study of museum objects (collections, collections) is of great importance for the acquisition and accounting of museum funds, for the implementation of exposition work, for the development of research activities of museums. The research in the museum makes it possible to determine the place of all components of the museum collection in the system of profile scientific discipline (branches of culture, social production, etc.).Novelty. The simulation of an approximate scheme of scientific attribution of a museum source, the basic principles of its scientific description are systematized and summarized.The practical significance. The established scheme of scientific attribution has demonstrated directly and in detail the study of the museum source. The study can contribute to conduct its scientifically correct description.

The aim of this paper is to consider ethnocultural processes, economic and natural factors that influenced changes in the worldviews of the Neolithic population of Ukraine and Eastern Europe. It also describes the development dynamics of material and spiritual culture of the linear-ribbon ceramics tribes on the territory of Volyn and the forms of its interaction with adjacent cultural areas. Research methodology. The author makes an attempt to systematize and interpret the available archaeological, scientific sources on the chosen theme on the basis of a comprehensive analysis, comparison, historical interaction, the analysis of general trends and features of Neolithic forms of ancient culture. Results . In the Neolithic period on the territory of Central and South-Eastern Europe several ethnic massifs interacted, which had their own ideological and cultural features: the ancient European Balkan-Danube-Carpathian community of the painted ceramics zone, North Black Sea-Caspian, which is characterized by rope-like ornament of dishes. Along with them, the culture of linear-ribbon ceramics spreads in Volyn, which interacts with the Volyn Neolithic culture and local communities of Northern Polissya. The cultural development of Ukrainian lands and Volyn in particular was part of the cultural and economic changes of the European continent at that time. Proofs of this are the ornamental schemes of ceramics, anthropomorphic and zoomorphic products, forms of jewelry and burials. Novelty . New archeological sources from the museum funds of Kyiv, Lviv, Lutsk have been involved. Neolithic cultures of Volyn and Ukraine are considered in the context of European ethnocultural changes of that time. The practical significance. The obtained results will contribute to a better understanding of the origins of cultural archetypes of European and Ukrainian peoples. They can be used to optimize the processes of European integration and cultural enrichment of peoples.

The article is devoted to the study of the little-known biography pages of the famous archaeologist, art critic, organizer of the museum activity M. Makarenko (1877–1938). Shot as a public enemy for his steady position on the protection of historical and cultural monuments, the scientist had left a number of publications covering various areas of his activity, as well as dedicated to specific architectural and archaeological sites. However, not all the ideas of the scientist have been implemented. Archival documents kept at central and regional institutions, museum funds include materials that reveal plans to continue exploring particular archaeological sites and writing certain publications. For several decades, M. Makarenko studied archaeological sites in Romny region (territory of modern Sumy region), which gave grounds to speak about opening of a new archaeological culture, now known as Romny culture. Four settlements were the most interesting from a scientific point of view: Monastyrysche, Vedmezhy, on the khutirs of Vashkevych and Hlynske. Fundamental work of the scientist, devoted to Romny archaeological culture, is “Monastyrysche” settlement. However, according to the documents, the scientist also planned a separate publication of the materials from the excavations of the site Vedmezhe. The plans were not implemented. Drafts were also not found. In the article on the basis of archival documents, M. Makarenko’s publications and drawings, the attempt to reproduce the chronology of the study of Vedmezhe settlement from 1906 to the end of the 1920s is made; the main results of the excavations are highlighted. The main factors that influenced the effectiveness of scientific research in the 1920s are shown. During excavations of Vedmezhe settlement, M. Makarenko for the first time applied a new technique – burial scraper, which the scientist later used when studying archaeological sites near Sumy and Mariupol. Key words: research, archaeological site, settlement, excavations, plan, drawing, pottery.