Since there is lack of methodology to assess the performance of defogging algorithm and the existing assessment methods have some limitations,three new methods for assessing the defogging algorithm were proposed.One w...Since there is lack of methodology to assess the performance of defogging algorithm and the existing assessment methods have some limitations,three new methods for assessing the defogging algorithm were proposed.One was using synthetic foggy image simulated by image degradation model to assess the defogging algorithm in full-reference way.In this method,the absolute difference was computed between the synthetic image with and without fog.The other two were computing the fog density of gray level image or constructing assessment system of color image from human visual perception to assess the defogging algorithm in no-reference way.For these methods,an assessment function was defined to evaluate algorithm performance from the function value.Using the defogging algorithm comparison,the experimental results demonstrate the effectiveness and reliability of the proposed methods.展开更多
Ever since the development of quantum mechanics in the first part of the 20th century, a new world view has emerged. Today, the physicalist objective assumption that objects exist independently of acts of observation ...Ever since the development of quantum mechanics in the first part of the 20th century, a new world view has emerged. Today, the physicalist objective assumption that objects exist independently of acts of observation has been challenged. The repercussions of this radical challenge to our common-sense perception of the world are far-reaching, although not yet generally realized. Here we argue that there is a complementary view to the way science which is being practiced, and that consciousness itself is primary and qualia form the foundation of experience. We outline the arguments of why the new science of qualia will tie objects that are being perceived to the subjective experience, through the units of subjective experience called qualia. If there is a reality that exists outside of perceptions in consciousness, it is indeed inconceivable. The reason is that once one subtracts everything that one can sense, imagine, feel, or think about, there＇s nothing left. Since qualia are subjective, they challenge the dominant world view of science as practiced today, which is reductionist, objective, and mathematical. Our view is a natural continuation of the quantum world view. We outline what the steps will have to be in order to fully develop the science of qualia.展开更多
A key issue for the future direction of film studies is what is the nature of the perception film viewers have of a film and what is the nature of the perception characters in a film have of other characters in the fi...A key issue for the future direction of film studies is what is the nature of the perception film viewers have of a film and what is the nature of the perception characters in a film have of other characters in the film. The debate between the philosophers John McDowell and Hubert Dreyfus over the nature of perception in general illuminates this issue. McDowell argues that we must see perception as conceptual, while Dreyfus supports a non-conceptual view. McDowell＇s concept of second nature not only resolves this debate in his favor, but it provides a promising tool for the interpretation of individual films. Moreover, McDowell＇s conceptual view of perception rules out those approaches to the future of film studies that are based on a non-conceptualist framework. Finally, McDowell＇s approach leads to an emphasis on interpreting films with a focus on improving moral sensibilities. This perspective provides a viable blueprint for keeping film studies viable.展开更多
In this essay I will explicate the gaze （le regard） and the ways in which it exceeds or transcends what we know as vision, the objectifying or representational power of the eyes. Building critically on Sartre, the g...In this essay I will explicate the gaze （le regard） and the ways in which it exceeds or transcends what we know as vision, the objectifying or representational power of the eyes. Building critically on Sartre, the gaze in Lacan and Merleau-Ponty is part of the technical apparatus used to describe the foundation, production, and reproduction of the subject. I will begin by discussing the role of visual perception in subject-formation in their respective work, differentiating between the Merleau-Pontian notion of the ＂gaze of the world,＂ i.e., the ways in which things cast their gaze upon us, and the Lacanian gaze as a manifestation of the scopic drive. Through an analysis of anamorphosis I will show （1） how the gaze evades the spectator, （2） what the relationship of the gaze is to the object petit a as the object of the scopic drive, and （3） how both Merleau-Ponty and Lacan require a movement that precedes and destabilizes the subject of intentional consciousness.展开更多
基金Projects(91220301,61175064,61273314)supported by the National Natural Science Foundation of ChinaProject(126648)supported by the Postdoctoral Science Foundation of Central South University,ChinaProject(2012170301)supported by the New Teacher Fund for School of Information Science and Engineering,Central South University,China
文摘Since there is lack of methodology to assess the performance of defogging algorithm and the existing assessment methods have some limitations,three new methods for assessing the defogging algorithm were proposed.One was using synthetic foggy image simulated by image degradation model to assess the defogging algorithm in full-reference way.In this method,the absolute difference was computed between the synthetic image with and without fog.The other two were computing the fog density of gray level image or constructing assessment system of color image from human visual perception to assess the defogging algorithm in no-reference way.For these methods,an assessment function was defined to evaluate algorithm performance from the function value.Using the defogging algorithm comparison,the experimental results demonstrate the effectiveness and reliability of the proposed methods.
文摘Ever since the development of quantum mechanics in the first part of the 20th century, a new world view has emerged. Today, the physicalist objective assumption that objects exist independently of acts of observation has been challenged. The repercussions of this radical challenge to our common-sense perception of the world are far-reaching, although not yet generally realized. Here we argue that there is a complementary view to the way science which is being practiced, and that consciousness itself is primary and qualia form the foundation of experience. We outline the arguments of why the new science of qualia will tie objects that are being perceived to the subjective experience, through the units of subjective experience called qualia. If there is a reality that exists outside of perceptions in consciousness, it is indeed inconceivable. The reason is that once one subtracts everything that one can sense, imagine, feel, or think about, there＇s nothing left. Since qualia are subjective, they challenge the dominant world view of science as practiced today, which is reductionist, objective, and mathematical. Our view is a natural continuation of the quantum world view. We outline what the steps will have to be in order to fully develop the science of qualia.
文摘A key issue for the future direction of film studies is what is the nature of the perception film viewers have of a film and what is the nature of the perception characters in a film have of other characters in the film. The debate between the philosophers John McDowell and Hubert Dreyfus over the nature of perception in general illuminates this issue. McDowell argues that we must see perception as conceptual, while Dreyfus supports a non-conceptual view. McDowell＇s concept of second nature not only resolves this debate in his favor, but it provides a promising tool for the interpretation of individual films. Moreover, McDowell＇s conceptual view of perception rules out those approaches to the future of film studies that are based on a non-conceptualist framework. Finally, McDowell＇s approach leads to an emphasis on interpreting films with a focus on improving moral sensibilities. This perspective provides a viable blueprint for keeping film studies viable.
文摘In this essay I will explicate the gaze （le regard） and the ways in which it exceeds or transcends what we know as vision, the objectifying or representational power of the eyes. Building critically on Sartre, the gaze in Lacan and Merleau-Ponty is part of the technical apparatus used to describe the foundation, production, and reproduction of the subject. I will begin by discussing the role of visual perception in subject-formation in their respective work, differentiating between the Merleau-Pontian notion of the ＂gaze of the world,＂ i.e., the ways in which things cast their gaze upon us, and the Lacanian gaze as a manifestation of the scopic drive. Through an analysis of anamorphosis I will show （1） how the gaze evades the spectator, （2） what the relationship of the gaze is to the object petit a as the object of the scopic drive, and （3） how both Merleau-Ponty and Lacan require a movement that precedes and destabilizes the subject of intentional consciousness.
