Filtyp
2006 lades avhandlingen Safety culture in sea and Aviation transport fram vid Institutionen för Designvetenskaper vid Lunds tekniska högskola. Avhandlingsarbetet var framför allt en del av det LFV-finansierade HUFA-projektet (Human Factors in Air Navigation Services) vid Lunds universitet, samt en del av ett större sjösäkerhetsprojekt finansierat av bl.a. Sjöfartsverket och VINNOVA. Här följer en
Abstract in Undetermined This paper presents a new automatic algorithm for extracting properties of an individual artist’s style and applying those properties to other drawings. The algorithm can be used to ensure consistent artistic style across a project by automatically transferring a selected style to hand drawn images. We present an algorithm that uses multiple stages; subdivision of an imageThis paper presents a new automatic algorithmfor extracting properties of an individual artist’sstyle and applying those properties to other drawings.The algorithm can be used to ensure consistent artisticstyle across a project by automatically transferringa selected style to hand drawn images. We present analgorithm that uses multiple stages; subdivision of animage into selected geons, extraction
The study investigated the effect of positive and negative emotional valence (I.A.P.S pictures) on recollective experience, using the remember-know paradigm (Tulving, 1985), and confidence judgements. The negative valenced pictures were hypothesised elicit the recollective experience to a larger extent and to entail a higher degree of confidence in the correctness of memory responses than positive
Abstract in UndeterminedA more or less continuous process of structural change, not least due to a globalizing economy, poses a number of challenges to regions and local communities. However, when firms or whole industries are phasing out, windows of opportunity open up. Empirical analyses of two recent plant closures in Skane point at the importance of retaining existing knowledge bases, and at t
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In Sweden during the 1940s and 50s, many artistically ambitious filmmakers, like Arne Sucksdorff, Gösta Werner, and Peter Weiss, sought and gained financial aid from sponsors within the industry. Whereas many sponsored films document and communicate industrial processes, these films are more creatively oriented and experiment with film as an artistic expression. Although economic concerns undoubte
