bluuebunny/crossref_metadata_2025_split huggingface dataset:
Image and Texture Independent Deep Learning Noise Estimation Using Multiple Frames
Authors: Kirmizitas Hikmet , Besli Nurettin 
Published: December 2022

In this study, a novel multiple frame based image and texture independent Convolutional Neural Network (CNN) noise estimator is introduced. Noise estimation is a crucial step for denoising algorithms, especially for ones that are called “non-blind”. The estimator works for additive Gaussian noise for varying noise levels. The noise levels studied in this work have a standard deviation equal to 5 to 25 increasing 5 by 5. Since there is no database for noisy multiple images to train and validate the network, two frames of synthetic noisy images with a variety of noise levels are created by adding Additive White Gaussian Noise (AWGN) to each clean image. The proposed method is applied on the most popular gray level images besides the color image databases such as Kodak, McMaster, BSDS500 in order to compare the results with the other works. Image databases comprise indoor and outdoor scenes that have fine details and richer texture. The estimator has an accuracy rate of 99 % for the classification and favourable results for the regression. The proposed method outperforms traditional methods in most cases. And the regression output can be used with any non-blind denoising method.
A New Machine Vision Method for Target Detection and Localization of Malleable Iron Pipes: An Experimental Case
Authors: Pan Zhongqiang , Zhang Dong 
Published: December 2022

Malleable iron pipes are widely used in construction, manufacturing, aerospace, and many other fields. Cast malleable iron pipes need to be treated flat to meet the needs of different shapes and sizes. This process is usually completed manually, which is low efficiency and is subject to potential safety risks. To solve this problem, a machine vision method is proposed to detect and localize malleable iron pipes. Point cloud images of malleable iron pipes are obtained by the Random Sample Consensus (RANSAC) algorithm, and precise matching is completed by the Iterative Closest Point (ICP) algorithm to obtain more accurate positions, so as to realize robot grasping. The grasping experiments of malleable iron pipes with the same and different specifications were carried out using a specially designed experimental platform. The results show that malleable iron pipes can be identified effectively and that the corresponding grasping success rate is more than 85 %. The target detection and localization method can obtain the three-dimensional (3D) position of malleable iron pipes to improve grasping efficiency, which provided a certain theoretical basis and guiding significance to improve production efficiency in practice.
Vytýkací povinnost a lhůta k jejímu splnění podle § 1921 ObčZ
Authors: Kolmačka Viktor 
Published: December 2022

Předmětem článku je analýza ustanovení § 1921 občanského zákoníku. Podle aktuálního názoru české literatury upravuje první odstavec vedle subjektivní lhůty k vytknutí vady rovněž lhůtu objektivní. Poslední případ přitom má platit pro všechny vady bez rozdílu, a to nejen pro vady skryté, ale též právní. Článek se snaží přesvědčit, že tento závěr se nemůže prosadit. Cestou historické analýzy autor dokládá, že závěry současné literatury jsou důsledkem českého směšování vytýkací povinnosti a lhůty k uplatnění práv z vad, které má kořeny v komunistickém zákonodárství. Důsledkem tohoto přístupu je pak nefunkční právo z vadného plnění a plné hodnotových rozporů. Autor presentuje rovněž vlastní stanovisko k výkladu § 1921 občanského zákoníku, kterým se hodlá těmto nedostatkům vyhnout.
UJI KUALITAS FISIK DAN KIMIAWI DEDAK PADI PENGGILINGAN DI KECAMATAN UMBU RATUNGGAY BARAT KABUPATEN SUMBA TENGAH
Authors: Langu Jemis Jaiwu , Sudarma I Made Adi 
Published: December 2022

Dedak padi merupakan salah satu bahan sampingan yang dihasilkan dari proses penggilingan gabah padi menjadi beras yang berpotensi untuk digunakan sebagai bahan baku pakan karena mengandung kadar nutrisi dan energi yang cukup baik. Tujuan dari penelitian ini adalah untuk mengetahui kualitas fisik dan kimiawi dedak padi penggilingan. Penelitian akan di laksanakan Laboratorium MIPA Terpadu Universitas Kristen Wira Wacana Sumba untuk uji kualitas fisik, Laboratorium Kimia Pakan Undana Kupang untuk analisis uji kimia. Penelitian ini menggunakan rancangan percobaan dan uji perbandingan dengan dua perlakuan dan enam ulangan. Adapun perlakuan yang di berikan: T1 dedak padi pengilingan yang mengeluarkan sekam dan T2 dedak padi pengilingan yang tidak mengeluarkan sekam. Penelitian ini dilaksanakan selama 3 bulan yaitu dari bulan April – Juni 2022. Pengambilan sampel dedak padi sebanyak dua kg dari lima penggilingan padi yang masih aktif beroperasi untuk di jadikan bahan penelitian dan di uji kulitas fisik dan kimiawi Laburatoriun MIPA Terpadu Universitas Kristen Wira Wacana Sumba dan Laboratorium Kimia Pakan Undana Kupang. Rata-rata uji kualitas fisik kerapatan tumpukan dedak padi yang mengeluarkan sekam (T1) dan tidak mengeluarkan sekam (T2) adalah 3,837,400 sedangkan rata-rata kerapatan pemadatan tumpukan dedak padi yang mengeluarkan sekam (T1) dan tidak mengeluarkan sekam (T2) adalah 3,978,675. Rata-rata kualitas kimiawi dedak padi yang mengeluarkan sekam (T1) dan tidak mengeluarkan sekam (T2) adalah bahan kering 89,725%, protein kasar 14,128% dan serat kasar 11,070%.
Penerapan Aplikasi Google Classroom, Jamboard, Google Slide, Google Form Dan Quizizz Dalam Pembelajaran Kimia
Authors: Lubis Asni Suryani 
Published: December 2022

Pendahuluan: Pandemi covid-19 berdampak ke berbagai sektor kehidupan, termasuk penyelenggaraan pelayanan pendidikan. Untuk keberlangsungan proses pendidikan dan dalam rangka berpartisipasi memutus mata rantai penyebaran virus covid-19, maka pelaksanaan pembelajaran di SMAN 8 Kota Tangerang Selatan diselenggarakan sesuai kebijakan social distancing. Tujuan: Penelitian ini bertujuan untuk menggambarkan pelaksanaan kegiatan pembelajaran kimia secara online (daring), untuk menggambarkan pelaksanaan kegiatan penilaian pengetahuan kimia secara daring (online), dan untuk mengetahui efektifitas pelaksanaan kegiatan pembelajaran daring (online) yang dilakukan di kelas XII IPA SMAN 8 Kota Tangerang Selatan selama pandemi covid-19. Metode: Metode penelitian yang digunakan dalam penelitian ini adalah penelitian tindakan kelas. Penelitian ini bertujuan Meningkatkan aktivitas/keterlibatan, serta hasil belajar pengetahuan (kognitif) siswa dalam setiap proses pembelajaran. Hasil: Pelaksanaan pembelajaran kimia tersebut terdiri dari tiga kegiatan daring (online). Aplikasi google classroom digunakan untuk pengelolaan kelas, diantaranya untuk menyampaikan pengumuman, memberi materi pelajaran, menyampaikan serta mengumpulkan tugas siswa, menilai penugasan, dan penilaian harian (PH) siswa. Kesimpulan: Penilaian hasil belajar pengetahuan kimia dilakukan dengan menggunakan aplikasi google form dan quizizz, dan pengumpulan file pdf. Dari keseluruhan kegiatan daring diperoleh rerata nilai pengetahuan kimia siswa 80,82, dan persentase siswa yang mencapai KKM sebesar 86,34%. Kriteria Ketuntasan Minimal (KKM) pengetahuan kimia yang ditetapkan dari SMAN 8 Kota Tangerang Selatan sebesar 67, dan persentase siswa yang telah melampaui KKM lebih dari 75% sehingga dapat disimpulkan bahwa pembelajaran kimia secara daring di kelas XII IPA SMAN 8 Kota Tangerang Selatan terlaksana dengan baik dan efektif.
In Defense of Genreblending
Authors: Worth Sarah , McBratnie Sean 
Published: December 2022

Readers often only care about one distinction when it comes to things they read—is it fiction or nonfiction? Did it happen or didn’t it? Presumably, we make sense of events we believe happened in a different way than we make sense of the ones that we don’t believe. Deconstructionists often warn us about the hazards that occur with the strict binary thinking we tend to orient ourselves with. When this binary is blurred, which it often is in many contemporary works of literature, readers become unsettled. It is our position that genre, and even the more broad categories of fiction and nonfiction, should not be found exclusively as properties internal to the text itself, but rather, the way we make sense of genre is an active process of narrative comprehension. We will question how the particular binary concerning fiction and nonfiction has sold us short concerning the ways in which we make sense of literary texts, and how much more fluid our notions of genre really could and should be. We also want to argue that the reduction of the binary of genre merely into fiction and nonfiction is a gross oversimplification of the ways in which we understand both genres themselves, as well as the ways in which we understand both truth and reference.
The Realistic Angel: Realism as Hypothetical Verity
Authors: Buckman Christopher C 
Published: December 2022

My main objective in this paper is to formulate a view of pictorial realism I call ‘hypothetical verity’. It owes much to John Kulvicki but diverges from his view in an important respect: rather than thinking that realistic pictures are true to our conceptions of things, I hold that they are true to what things would be like if they existed. In addition, I agree with Dominic Lopes that different realisms reflect different aspects of reality, but restate the case without recourse to symbol systems. Together, the twin principles of hypothetical verity and aspectival absolutism constitute a theory of realism able to account for realistic fictional entities, the problem of revelatory realism and images that teach new information.
On the category of 'the aesthetic'
Authors: James McFee Graham 
Published: December 2022

Those contrasting our appreciation of art (as artistic appreciation) with our appreciation of the other occasions when grace, line, elegance, and so on — or their opposites — (as aesthetic appreciation) typically give much fuller accounts of art-based cases, even though it is recognized that many artworks, although not all, could be perceived — that is, mis-perceived — as objects of aesthetic appreciation. Moreover, here, ascriptions of ‘the aesthetic’ typically reflect the claim to positive aesthetic value, rather than the ‘even-handed’ version described in philosophy, giving weight to ugliness. Such a positive conception is well-exemplified in the philosophy of sport, when the attempt to describe a purist conception of sports spectatorship — one devoted to the sport, but without allegiance to any team — presents that purist as “… enjoying sport for its purely positive and aesthetic aspects” (Mumford, 2012 p. 18): that is, the conception of such spectatorship is as directed to the aesthetic. In part, the argument there seems to assume, mistakenly, that what is not appreciated purposively (for sport, in terms of winning and losing) is thereby appreciated aesthetically.
But here, following a hint from Austin (1979 p. 180), it is urged that the term “aesthetic” is used in such contexts ‘to rule out the suggestion of some or all of its recognized antitheses’: here, in particular, aesthetic interest is contrasted with, and feeds of, purposive interest. In recognizing this is a typical feature of uses of the term “aesthetic” one has an explanation of previous failures to provide an account of aesthetic appreciation at the same level of comprehensiveness as that offered for artistic appreciation: references to the aesthetic are contextualized to the particular antithetical notion being rejected on that occasion. And that was a feature implicitly recognized in the argument identified above, even if then falsely generalized. Yet there is really not just one contrast here: different antithetical terms may be invoked on different occasions. In this sense, aesthetic judgement is context-dependent or occasion-sensitive (see Travis, 2008 esp. pp. 150-160). And that is what grounds the general difficulty for dealing broadly (and briefly) with the category of the aesthetic.
Double Life. Illusion - Disillusion
Authors: Boer Nelle 
Published: December 2022

In order to make my life and therefore my art more exciting I often imagine being someone else. While working on art projects, usually for several months, I have lived double lives as art historians and political scientists, but mostly as artists who should have been famous.
To trick my audience into believing the fantasy figures I fabricate are real, I use circumstantial evidence. But with the help of that same audience, the double lives I live become far more interesting. It is their imaginative power that really brings my alter egos to life.
DESKTOP graffiti
Authors: Verhoeven Thibaut 
Published: December 2022

And then Christophe showed me his nicely tailored folders. He still accompanied it with the parlé people nowadays treat young managers during their Powerpoint presentations. When the first folder was opened, though, something changed drastically, in a flash. Suddenly the need for explications dropped away. Without a doubt, these were scribbles straight from the gut, vomited onto the paper when the urge was highest. Without parlé or excuse. Surprising!
That is when we really started talking, Christophe and I.
Crossing Over: Rauschenberg, Kafka, and the Boundaries of Imagination
Authors: Schmidt Erik Wolfgang 
Published: December 2022

How do we make sense of something we don’t recognize? This topic raises an important background question: how do we recognize or come to imaginatively experience the subject that a work of art or fiction presents to us? When philosophers address this topic they often assume the act of experiencing or recognizing something through that work is directly under a reader or viewer’s control. The imaginative act, they tell us, is something that a viewer or reader does with the material presented by a given work. This limits the scope of what we might fail to recognize to cases of ambiguity or under-determination. I suggest that this approach ignores the way in which some works of art or fiction puzzle us not because their content is ambiguous but because they frustrate the imaginative act itself. They do this by making it difficult to navigate the imaginary space a fictional object might occupy. To develop this claim I closely examine several works by Robert Rauschenberg and Franz Kafka and suggest that they undermine the common assumption that the activity of imaginatively engaging a work of fiction is under our control. I conclude by suggesting some implications this lack of control might have for two prominent debates related to the activity of recognizing or experiencing something through an engagement with a work of fiction.
The Truth of the Story and its Variations
Authors: Yazicioglu Sanem 
Published: December 2022

Husserl’s investigations on appearances and variations in the constitution of reality has led to the further examinations in what Arendt calls a ‘story’. Arendt argues that we produce our lives as a ‘story’. At the same time, she argues that nobody can be the author of one’s own life story. This intriguing claim implies that autobiography is an impossible task for an individual and that only others are capable of telling one’s own story. The main reason for this claim is that narration is only possible when the narrator has sufficient distance to the narrated life, and one cannot have a sufficient distance from one’s self. In this article, I will argue the following: if distance is a precondition of seeing and narrating, then variations of appearances and the reality that they constitute through different perspectives become a necessary part of seeing and narrating. This argument will emphasize the importance of the plurality of perspectives. Thus it will lead to the further question of whether it makes sense to make a truth claim in any of these perspectives or whether the variations force us to think every truth claim in relation to fiction.
David Wojnarowicz and the Surge of Nuances
Authors: Abramson Paul R , Abramson Tania Love 
Published: December 2022

When looking at two paintings, ostensibly by Rembrandt, is there an aesthetic difference in how these paintings are perceived if we know that one of the two paintings is a forgery? Most certainly, declared Nelson Goodman (1976). Knowledge of the difference would modify the aesthetic experience. When looking at Michelangelo’s Christ on the Cross, the result is arguably similar. What we see depends on what we know about Christ’s story. The same might also be said more generally about tragic narratives and their accompanying indicia. Awareness impacts viewers acutely. This is especially evident in curated Holocaust memorials, where the ghastly artifacts, and the unfathomable story lines, are intrinsic to their aesthetic force. This insight however is by no means limited to curated monuments. Learning that an artist, David Wojnarowicz for example, was a victim of inconceivable torment is no less critical to how their artworks are perceived. Our argument, in its totality, is that being informed is preferable to unknowing, and that knowing, however manifested, has the capacity of modifying visual perception.
"The New World": Heideggerian or Humanist Cinema?
Authors: Harrison Britt 
Published: December 2022

I offer a new Heideggerian reading of Terrence Malick’s 2005 film The New World, in the style of film-philosophy, alongside a contrasting Cinematic Humanist encounter. I consider if the former is a theory-involving example of philosophy of film, and whether a positive answer to this question entails the latter must be also. I argue that the whilst both engagements with the film use the work of other philosophers as part of their appreciation, Cinematic Humanism nonetheless remains one of many possible ways of doing philosophy of film without theory. Having compared these two methods, I suggest reasons why there is nonetheless a potentially valuable relation to be had between philosophy of film with and philosophy of film without theory. Close attention is paid to the film throughout.
Mourning the Loss of the Ordinary. A Cavellian Reading of Ozu’s "Late Spring"
Authors: Techio Jônadas 
Published: December 2022

This paper offers a reading of Yasujiro Ozu’s Late Spring (Banshun, 1949) focusing on its examination of the ordinary: its conditions, its structure, its dynamics, and its fragility. This reading is articulated by juxtaposing some of Stanley Cavell’s main insights concerning modern skepticism and its threat to the ordinary and their corresponding expressions in a series of representative sequences from Ozu’s film. In both cases the notion of mourning plays a central role. I close by establishing one additional parallel between Cavell’s and Late Spring’s interpretations of the ordinary, focusing on the absence of a wedding ceremony at the end of Ozu’s film.
When the silent universe speaks. Testing Camus’ notion of the absurd in the alien encounters of "Contact" and "Arrival"
Authors: Tubali Shai 
Published: December 2022

Albert Camus' concept of absurdity - as articulated in his works The Stranger, The Myth of Sisyphus, and The Rebel - outlines a metaphysics of inherent struggle between the human mind that strives for unity and clarity and an inhumanly silent universe. When an absurd mind realises its own inescapable frontiers of knowing, meaning, separation and mortality, Camus argues, it has the Sisyphean choice to embrace such a universe nevertheless, while forever retaining the spirit of revolt that defies it.
In this essay I analyse, side by side, two first-contact films - Robert Zemeckis' Contact (1997) and Denis Villeneuve's Arrival (2016) - to test the validity of Camus' metaphysics in a universe where human estrangement seems to be disrupted by cosmic visitors. The films' thought experiments support Camus' universal vision, indirectly suggesting that even aliens are prone to absurdity. On the other hand, both films offer an approach of intimate communion with the cosmos, in light of which Camus' description of the universe as a stranger seems to demonstrate a limited perspective.
The Flesh is Weak. Empathy and Becoming Human in Jonathan Glazer's "Under the Skin"
Authors: Heber-Percy Colin 
Published: December 2022

Jonathan Glazer’s 2013 film Under the Skin offers an unsettling meditation on humanness through the eyes of an alien predator. This essay reflects on Glazer’s film by drawing it into conversation with the later phenomenology of Maurice Merleau-Ponty, with Heidegger, Martin Buber, and with a number of earlier Greek thinkers who together point us towards a more complex and shared definition of ‘contemplation’ or theory. The paper asks: do films watch us as much as we watch films?
Through an exploration of the notion of the mask as a means both of disguise and of disclosure, the paper questions to what extent all human relations are masked, screened. So, Glazer’s film can be viewed as an exercise in re-imagining the role of the screen, turning us from viewers to viewed. This implication of the audience in the film’s scope leads to a concluding focus on empathy as the essential sharedness of human (and therefore of cinematic) experience.
The Vanity of Small Differences
Authors: Liao Shen-yi , Meskin Aaron , Fletcher Jade 
Published: December 2022

To what extent are factors that are extrinsic to the artwork relevant to judgements of artistic value? One might approach this question using traditional philosophical methods, but one can also approach it using empirical methods; that is, by doing experimental philosophical aesthetics. This paper provides an example of the latter approach. We report two empirical studies that examine the significance of three sorts of extrinsic factors for judgements of artistic value: the causal-historical factor of contagion, the ontological factor of uniqueness, and the contextual factor of appreciative environment.
We explore the context of appreciation by performing studies in a museum as well as the lab. We found that contagion made a difference in both settings. However, uniqueness only made a difference in the lab setting, but not in the museum. This suggests that the context of appreciation may make a difference to judgements of artistic value. Of broader significance, these studies show the value of experimental philosophical aesthetics and the value of doing in situ empirical research on art.
Aesthetic Value and Aesthetic Judgment
Authors: Consoli Gianluca  
Published: December 2022

Contemporary aesthetic naturalism integrates various scientific approaches into the common effort to provide an explanation of the main topics of aesthetics on the basis of empirical methods or in line with available evidence. Although these approaches have recently achieved very relevant empirical and theoretical results, contemporary aesthetic naturalism still does not solve the traditional hard problem of naturalism as such, that is the explanation of value in scientific terms. Firstly, I analyse the possible responses to this hard problem, showing that aesthetic value, particularly in the version of artistic value, remains outside the scope of current empirical approaches to aesthetics. Then I propose that this apparently strong philosophical limitation can be easily reduced to an ordinary epistemological limitation if aesthetic naturalism accepts to improve the interaction with art criticism, the discipline in the humanities characterised by a privileged access to the historical and social reasons that justify aesthetic judgments.