Use Of Computer-generated Images Research Articles

Ethics Concerns in the Use of Computer-Generated Images for Human Communication

The rapid growth of artificial intelligence (AI) tools has contributed to various image-generation techniques. These tools have had a significant effect on how we perceive contemporary communication. This study presents a broad overview of the challenges and consequences associated with the influence of AI on communication, and its findings are supported by thoughts collected from various books and academic publications. Nevertheless, incorporating AI into communication through synthetic imagery raises concerns about communication that require careful consideration. This study investigates various ethical concerns and the significance of ethical guidelines and responsible practices in creating these applications. It intricately weaves together philosophical reflections, ethical deliberations, and societal responsibilities, shedding light on the complex interplay between ethics, technology, and human values within the context of machine development and broader societal realms.

No evidence of real-world equivalence in chickens (Gallus gallus domesticus) categorizing visually diverse images of natural stimuli presented on LCD monitors.

Category learning is often tested with similar images that have no significance outside of the experiment for the subjects. By contrast, in nature animals often need to generalize a behavioral response like "eat" across visually distinct stimuli, such as spiders and seeds. Forming functional categories like "food" and "predator" may require conceptual rather than purely perceptual generalization. We trained free-range chickens to classify images assigned to one of four categories based on putative functional significance: inanimate objects, predators, food, and non-competing vertebrates. Images were visually diverse within each category, discouraging classification by perceptual similarity alone. In Experiment 1, chickens classified 80 images into four categories. Chickens then generalized to 80 new exemplars in each of three successive generalization tests. In Experiment 2, chickens saw new types of images to test whether their generalization was perceptual or functional. For example, chickens saw images of skunks for the predator category after training with images of hawks and snakes. Chickens used the "predator" response with these new images for both predators and non-threatening vertebrates, but not for objects or food, and did not successfully generalize any category other than predator. In Experiment 3, chickens categorized fractals as "food," and three of four chickens categorized a range of vertebrates they had not previously encountered as "predators," suggesting that chickens did not see the images as representing real world objects and animals. These results highlight constraints on the use of computer-generated images to assess categorization of natural stimuli in chickens.

Qiddiya’s Journey: A case study in urban imagineering and image laundering

Some of the world’s most ambitious urban development projects today are first expressed as hyper-realistic, computer-generated images (CGIs). These fictional worlds increasingly shape megalomaniac visions and collective imaginaries about the future of cities. Digital media about speculative urban environments are often produced remotely by design professionals and subsequently employed to secure investment and finance. Disguising marketing media as planning documents deeply challenges the traditional role and responsibilities of the urban planning practice. In a spectacular and experiential proposition, Qiddiya’s master plan animation celebrates consumption and techno-utopianism, concealing forms of post(colonial) invisible labour and oppressive digital infrastructures. A careful analysis of ‘Qiddiya’s Journey’ illustrates how CGI-generated media doubles as a development strategy and propaganda, ignoring critical implications of building a theme park city in the middle of a desert. Beyond the neo-liberal agenda of tourism and entertainment, Qiddiya’s vision reveals ethical lapses in the use of CGIs for urban planning purposes. Moreover, it exemplifies how seductive aesthetics can enable an authoritarian regime to advance contentious development programmes that discretely launder its image clean of social and environmental controversies.

Perception of Computer Generated Images (CGI) in Nigerian made animated films: A cognitive-semiotic view

Purpose: There has been lots of positive and negative criticisms on the influences and effects of animated images on kids in Nigeria without considering the communicative potentials of such medium from our cultural perspectives. Again, many Nigerians may not have the knowledge that there are quality Nigerian local content animation. Methodology: This paper looks at the perception of computer generated imagery (CGI) in Nigerian animated films. It examines the nature of the application of CGI in popular Nigerian Animated films by analyzing the techniques used and meanings produced from The images constructed to communicate the ideas of the narratives. This paper is anchored on the framework of cognitive semiotic theory and adopts the qualitative research design to investigate the communication of meanings by use of CGI in Malika (2020), the basis for using cognitive semiotic theory in this paper is that CGI are simulated believable images that denote meanings to communicate encoded cultural ideologies to kids within and outside Nigeria. It is hoped that this study would make better appreciation of Nigerian Animated films and encourage Animators to make more. Findings: The findings in this study, is that, the use of CGI in object and character representation in Nigerian Animated films as regards reality simulates the simulacra nature of a typical African worldview and bring to life a historical antecedent. It submits that CGI boosts the visual and aural representation of the Nollywood film narratives which allow the viewer to recognize the already established meanings of the codes used in film text. Unique Contribution to Theory, Practice and Policy: It also recommends that Animation should be used for promotion and preservation of fast fading Igbo cultures

Perceptual Realism and Digital VFXs in the Korean Blockbuster of the 2010s: The Admiral: Roaring Currents and Ode to My Father

:Drawing on Stephen Prince's concept of “perceptual realism”' to examine the use of computer-generated images in two megahit Korean blockbuster films of 2014, The Admiral: Roaring Currents and Ode to My Father, this article underlines these films' impression of reality as the nexus of the complex intersections between Korea's national history and identity, and the industrial and aesthetic transnationality of Korean popular cinema.

Technical Note: Contrast free angiography of the pulmonary vasculature in live mice using a laboratory x-ray source.

Purpose:In vivo imaging of the pulmonary vasculature in small animals is difficult yet highly desirable in order to allow study of the effects of a host of dynamic biological processes such as hypoxic pulmonary vasoconstriction. Here the authors present an approach for the quantification of changes in the vasculature.Methods:A contrast free angiography technique is validated in silico through the use of computer-generated images and in vivo through microcomputed tomography (μCT) of live mice conducted using a laboratory-based x-ray source. Subsequent image processing on μCT data allowed for the quantification of the caliber of pulmonary vasculature without the need for external contrast agents. These measures were validated by comparing with quantitative contrast microangiography in the same mice.Results:Quantification of arterial diameters from the method proposed in this study is validated against laboratory-based x-ray contrast microangiography. The authors find that there is a high degree of correlation (R = 0.91) between measures from microangiography and their contrast free method.Conclusions:A technique for quantification of murine pulmonary vasculature without the need for contrast is presented. As such, this technique could be applied for longitudinal studies of animals to study changes to vasculature without the risk of premature death in sensitive mouse models of disease. This approach may also be of value in the clinical setting.

O hiper-realismo sensorial de 300

Este artigo tenta determinar as qualidades e especificidades de um tipo específico de representação cinematográfica que faz uso extensivo de imagens geradas em computador. Considera-se que o uso de tal tipo de imagem técnica já é um bom indicador de um novo estágio do sistema representativo, no qual as imagens ocupam novo e privilegiado espaço. Ainda nessa direção, coadunando-se com esse novo status das imagens, surgem novas especificidades no processo de construção da realidade que problematizam a questão do realismo. A partir dessas novas construções de realidade e do novo status da imagem, propõe-se um esboço da definição de um novo estilo de representação denominado hiper-realismo.

The influence of leg-to-body ratio (LBR) on judgments of female physical attractiveness: Assessments of computer-generated images varying in LBR

The leg-to-body ratio (LBR), which is reliably associated with developmental stability and health outcomes, is an understudied component of human physical attractiveness. Several studies examining the effects of LBR on aesthetic judgments have been limited by the reliance on stimuli composed of hand-drawn silhouettes. In the present study, we developed a new set of female computer-generated images portraying eight levels of LBR that fell within the typical range of human variation. A community sample of 207 Britons in London and students from two samples drawn from a US university ( Ns = 940, 114) rated the physical attractiveness of the images. We found that mid-ranging female LBRs were perceived as maximally attractive. The present research overcomes some of the problems associated with past work on LBR and aesthetic preferences through use of computer-generated images rather than hand-drawn images and provides an instrument that may be useful in future investigations of LBR preferences.

Interpretation of forest characteristics from computer-generated images

The need for effective communication in the management and planning of forested landscapes has led to a substantial increase in the use of visual information. Using forest plots from California, Oregon, and Washington, and a survey of 183 natural resource professionals in these states, we examined the use of computer-generated images to convey information about forest characteristics. Age and density (basal area (BA)) were underestimated for large, old, dense forest and overestimated for small, young, open forest. While accuracy of responses for density, tree size, and age of forest plot images was low, the ordering of such images by these attributes did correspond to the actual forest plot characteristics. Alterations to the standard image were made for three of the forest plots, including alterations for the area depicted, the incorporation of under-story vegetation and fallen trees, the addition of a truck, and regular and clumpy individual tree spacing. Image alterations did affect some mean responses for tree size, density, fire hazard, vertical stratification, and forest age. Results show managers and planners may need to exercise caution and supplement images with additional information to avoid miscommunication about the nature of current and projected forest landscapes.

What's Wrong with Computer-Generated Images of Perfection in Advertising?

Advertisers often use computers to create fantastic images. Generally, these are perfectly harmless images that are used for comic or dramatic effect. Sometimes, however, they are problematic human images that I call computer-generated images of perfection. Advertisers create these images by using computer technology to remove unwanted traits from models or to generate entire human bodies. They are images that portray ideal human beauty, bodies, or looks. In this paper, I argue that the use of such images is unethical. I begin by explaining the common objections against advertising and by demonstrating how critics might argue that those objections apply to computer-generated images of perfection. Along the way, I demonstrate an ethically significant difference between computer-generated images of perfection and the images in ordinary ads. I argue that although critics might use this fact to apply the common objections to the use of computer-generated images of perfection, the objections fail. Finally, I argue that despite surviving the common objections, the use of computer-generated images of perfection is subject to an ethical objection that is based on aesthetic considerations. Advertisers are ethically obligated to avoid certain aesthetic results that are produced by computer-generated images of perfection.