二阶张量场可视化研究

1.引言当今科学计算可视化的研究对象主要集中在三维数据场的可视化,来源于有限元分析、流体力学、力场、医学、气象场、温度场中的许多三维体数据,它们可表示为分布于体空间的单值函数V=f(x,y,z),当V为标量时则为标量场,若V为矢量则为矢量场,若V为张量则为张量场。体数据场包含的信息量非常丰富,数据量也非常多,经过可视处理,借助计算机图形学的理论和数字图像技术,可直观地反映出数据场内部信息的分布规律以及变化过程。     

Pixelating the Sacred: Digital and Mechanical Reproduction and the Orthodox Christian Icon in the United States

Abstract

Drawing upon recent ethnographic research (interviews and participant observation) conducted among members of an Orthodox Christian parish (Orthodox Church in America or OCA) located in the southern United States, I explore the ways that contemporary digital and other mechanical modes of reproduction complicate how contemporary American Orthodox Christians integrate icons, two-dimensional images essential to Orthodox worship, into their devotional lives. While theologians have traditionally emphasized hand-painted icons as fundamental to the Orthodox liturgical experience, mass-produced print and digitally downloaded reproductions have largely supplanted such traditionally crafted images in the lived, everyday experience of American Orthodox Christians. A key theme of this paper is the way these developing technologies enhance the agency of my informants as they make critical decisions regarding which images (within a prodigious visual landscape) to accept as “icons” over and against others simply dismissed and disposed of as mere “pictures.” The inherent tensions informants confront in the process of this decision-making as well as the ways they appeal to Orthodox tradition in sanctifying their iconographic selections will be featured in this article.     

What she looks like: on the recognition and iconization of the virgin mary at apparition sites in the twentieth century

ABSTRACT

Knowledge about Mary's appearance, which shapes apparition experiences, is transmitted primarily via well-known images, which themselves are increasingly representations of visions. Though there has been increased homogenization of images of Mary in the twentieth century resulting from template distribution and the way the psychology of recognition works, Mary is still consistently made specific to a place, to carry uniquely identifiable features which may also articulate local political and theological stances. As long as the apparitions are still taking place, these features may be in flux; the process by which they jell is termed “iconization,” the social process of agreeing on one image as the recognizable face of Mary at a certain apparition site. Medjugorje, the most important active Marian apparition site since the late twentieth century, is unique in that several images compete there for iconic status. Though power structures play an important role in determining which images become icons, this essay emphasizes the balancing act between universal and particular traits which constrains the options of the key players producing the images.     

第32届东京奥运会竞技项目动态图标设计创新探析

第32届东京奥运会及残奥会视觉设计,传承1964年东京奥运会及残奥会设计创新精神,在静态图标设计的基础上,首次采用动态图标识别竞技项目信息,在图标动态变化的不同阶段,动画效果以大小变化、遮罩变化、扩展变化、透视变化等方式呈现。动态图标遵循动画运动规律,演绎真实可信的竞技动作,同时不失静态造型的形式特征及韵律美感。第32届东京奥运会竞技项目动态图标设计,将平面设计语言与动画设计理念进行交叉创新,在新媒体时代背景下率先探索视觉传达新范式,颇具研究意义与学习价值。     

基于用户满意度的图标动态形式设计

为了增加用户对人机界面图标的可理解性,提高用户认知效率,提出一种基于用户满意度的图标动态形式评价方法.利用速率、方向、范围、路径分别定义图标旋转、左右、上下平移、缩放4种基本动态形式;采用阈限测量法获得图标动作时间的上阈、舒适值、下阈,通过线性回归建立图标动作时间与图标动作幅度间映射关系;通过Likert量表进行动态图标范围适合度调查;结合方差分析和最小显著性差异实验,分析图标动作时间和图标动作幅度对用户偏好满意度、认知负荷的影响,并用于指导动态图标设计.实验结果表明在4种基本动态形式下,移动端的动态图标最佳动作时间在450 ms左右;动作时间与动作幅度为正相关,设备尺寸、图标复杂度对动作时间的设定有决定性的影响;动作幅度的设定与设备尺寸相关.为人机界面中动态图标设计提供了一种动态图标量化分析模型,以便为人机界面的动态图标设计提供一定的理论参考.     

Discourse structures in iconic communication

The success of the WIMP interface, the convergence towards multimedia platforms and the growing use of the Internet combine to place new demands on the systems we use to communicate with one another. Proposals for iconic languages are not new but the computer offers the ability to incorporate interactivity and animation into iconic writing and reading systems. One approach to developing computer-based iconic communication systems derives from the visual arts (i.e. graphic design, illustration, film animation, documentary video, etc.). An alternative approach is derived from computational linguistics in that the syntactic or semantic structure of language is retained while iconic images are used in place of words. Differences between the study of natural language and the design of an iconic language are discussed and the components of one particular system, IconText, are described. Of particular interest is the attempt to capture some pragmatic aspects of communication, both in terms of conveying the intentions of the author and concerning the sequential delivery of the message.     

基于ERP的扁平化与拟物化图标认知效率研究

目的研究扁平化和拟物化图标对使用者认知效率的影响,为图标设计提供科学依据。方法采用ERP技术,以扁平化和拟物化图标为靶刺激,选取青年群体为被试,进行诱发事件相关电位实验,记录实验数据。结论扁平化图标和拟物化图标刺激下的平均反应时间分别为396.18 ms和405.29 ms,被试对于扁平化图标的反应速度更快,对于两种图标的反应正确率没有显著性差异;扁平化图标诱发的P300成分的潜伏期短于拟物化图标,幅值大于拟物化图标。在图标保持相同像素,颜色相近的前提下,被试产生不同的反应速度与脑电特征。相对拟物化图标,扁平化简洁高效,使用者会投入更多的注意力并获得较高的认知效率。     

Integrated analytical study for the authentication of five Russian icons (XVI–XVII centuries)

This article presents an integrated approach for the authentication of five Russian icons through the study of their paint materials (elemental composition and stratigraphic mapping), state of conservation and artistic technique. The results of the applied analytical protocol, involving optical and scanning electron microscopy coupled with energy‐dispersive X‐ray spectrometry and Fourier transformed infrared spectroscopy/microspectroscopy, led to the conclusion that the five icons belong to the same group and iconographic school (from Northern Russia) and date from the end of the 16th century to the beginning of 17th century. Because of massive overpainting, the icons “suffered” a change in iconographic style and significance, and restoration treatment brought to light the original painting and its attribution. Identification of the composition of the original chromatic palette used by the iconographer, the stratigraphic mapping and the conservation state of the painting materials, along with the features of the original artistic technique, furnished key elements for the icons' authentication. Here, we present the first experimental data concerning the identification of the authentication characteristics, being part of a large project that has as its final aim the evaluation of the effectiveness and effects of the cleaning agent on the paint layers. Microsc. Res. Tech. 2009. © 2009 Wiley‐Liss, Inc.     

A comparison between Maya hieroglyphs and computer icons

Thomas Erickson pointed out that interface design normally follows the traditional approach of art and design, which requires reworking to refine an idea through visual playfulness until a solution has been achieved. Erickson wrote that design by symmetry works by juxtaposing concepts that are similar at a very deep level — the concepts are symmetric in terms of some deep structure or underlying process. Once the underlying symmetry is established, the designer attempts to extend the symmetry farther, using what is known about one domain to suggest new ideas about the other. This article uses examples of Maya hieroglyphs, computer icons and parts of other contemporary symbol systems, either forced or as a natural development of visual language, to compare individual or reused elements of these systems; then to consider the potential of visual language systems that have been refined and used over a long period of time, against computer icons, which are a recent development. Certain comparisons have no relationships; they do however, expose the nature of computer icons.     

Searching for signs, symbols, and icons: Effects of time of day, visual complexity, and grouping.

Searching for icons, symbols, or signs is an integral part of tasks involving computer or radar displays, head-up displays in aircraft, or attending to road traffic signs. Icons therefore need to be designed to optimize search times, taking into account the factors likely to slow down visual search. Three factors likely to adversely affect visual search were examined: the time of day at which search was carried out, the visual complexity of the icons, and the extent to which information features in the icon were grouped together. The speed with which participants searched icon arrays for a target was slower early in the afternoon, when icons were visually complex and when information features in icons were not grouped together to form a single object. Theories of attention that account for both feature-based and object-based search best explain these findings and are used to form the basis for ways of improving icon design. (PsycINFO Database Record (c) 2010 APA, all rights reserved)