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Qo‘lyozma matn tasvirlarini tahlil qilish tizimlarini ishlab chiqishda dastlab berilgan tasvir sifatini baholash talab etiladi. Odatda tasvir sifatini baholash uning gistogrammasi orqali amalga oshiriladi va u yetarlicha aniq ifodalanishi mumkin, biroq bu usul orqali sifat ko‘rsatkichlarini miqdoriy qiymatlarda ifodalab bo‘lmaydi. Tasvir sifatini miqdoriy baholash vazifasi ancha murakkab va kompleks vazifa bo‘lib, u shubhasiz tasvirlarga dastlabki ishlov berish algoritmlarini to‘g‘ri strategiyasini tuzish imkonini beradi. Bu esa chiqishda tahlil uchun nisbatan yuqori sifatli tasvirni ta’minlaydi., {"references":["Гонсалес Р., Вудс Р. Цифровая обработка изображений. – М.: Техносфера, 2012. – 1104 с.","Местецкий Л. М. Непрерывная морфология бинарных изображений. Фигуры. Скелеты. Циркуляры. – М.: Физматлит, 2009. – 287 с.","Шапиро Л., Стокман Дж. Компьютерное зрение. – М.: Бином. Лаборатория знаний, 2006. – 752 с.","Яне Б. Цифровая обработка изображений. – М.: Техносфера, 2007. – 583 с.","Al Maadeed S., Ayouby W., Hassaine A., Aljaam J.M. QUWI: An Arabic and English handwriting dataset for offline writer identification. In Proc. of Int. Conf. on Frontiers in Handwriting Recognition, 2012, pp. 746-751.","Mittal A., Moorthy A.K., and Bovik A.C. No-Reference Image Quality Assessment in the Spatial Domain. IEEE Transactions on Image Processing. Vol. 21, Number 12, December 2012, pp. 4695-4708."]}

Historien om det 20. århundret er i stor grad historien om ideologiske konflikter. Denne masteroppgaven kaster lys på én spesifikk debatt blant de intellektuelle i Europa. Ut av den langvarige debatten om marxismens posisjon i Frankrike, oppstod det en avlegger som fant veien til samfunnsdebatten i Norge. En ung filosof med navn Tore Stubberud reiste til Paris som journalist på vegne av den lille borgerlige avisen, Morgenbladet. I Paris intervjuet han en gruppe filosofer som senere ble kjent som "nouveaux philosophes" (nye filosofer). Ikke egentlig en enhetlig gruppe, men likevel en gruppe enkeltpersoner som til felles hadde en ny form for kritikk som ble døpt "anti-marxisme". Disse filosofene var inspirert av Aleksandr Solzjenitsyns oppsiktsvekkende beretning om livet innenfor det sovjetiske tvangsarbeidssystemet – GULag-Arkipelet (På fransk i 1974). For de nye filosofene var det på tide for vestlige intellektuelle å avstå fra ethvert forsøk på å rettferdiggjøre marxistenes handlinger, samt deres forsøk på å forklare hvor og hvordan de marxistiske regimene hadde skilt lag fra den «sanne» marxismen. I Norge hadde det kulturelle klimaet endret seg etter 1968. To nye, radikale, politiske partier ble født i form av AKP-ml og SV, og antallet anti-autoritære studenter med politisk orientering skjøt i været. Under slike forhold trengte påvirkningen av marxisme, i dens utallige variasjoner, inn på universiteter, tidsskrifter, aviser og forlag. Resultatet av denne endringen var et giftig og dogmatisk miljø, der meningsforskjeller ofte ble møtt med polemiske angrep; eller enda verre – de ble simpelthen ignorert. Til dette miljøet brakte Stubberud den anti-marxistiske kritikken gjennom intervjuer med noen av de nye filosofene. Disse intervjuene ble senere grunnlaget for hans egen bok kalt Anti-Marx (1978). Denne boken vakte stor debatt i Norge. Denne masteroppgaven gjør et forsøk på å kaste lys over den debatten som oppstod i kjølvannet av Anti-Marx. Dette blir gjort gjennom en hermeneutisk tilnærming til analysen av kildene. Målet med oppgaven er å sette den anti-marxistiske debatten i Norge – dens betydning og innvirkning – samt Stubberuds rolle i det hele, inn i sin historiske sammenheng. The history of the 20th century is in large part the story of ideological conflicts. This thesis focuses on one specific ideological debate among intellectuals in Europe. Out of the long-lasting debate on marxism in France arose a sapling which took root in the debate climate of Norway. A young and driven philosopher with the name of Tore Stubberud travelled to Paris as a journalist on behalf of the minor newspaper Morgenbladet. In Paris he interviewed a group of philosophers that came to be known as nouveaux philosophes (new philosophers). Not really a unified group, but nevertheless a collection of individuals that had in common a new form of criticism which was baptised ‘Anti-marxism’. These philosophers were inspired by Alexandr Solzjenitsyn’s eye-opening historic account of life within the Soviet forced labour camp system – The Gulag Archipelago (1974). For the new philosophers it was time for western intellecutals to forfeit any attemps to justify the actions of marxists, as well as their attemps to explain where and how these marxist regimes diverged from ‘true marxism’. In Norway the cultural climate had shifted post 1968. Two new, radical political parties were born in the shape of AKP-ml and SV - and the number of anti-authoritarian students that were politically oriented sky-rocketed. In these conditions the influence of marxism, in its’ countless variations, seeped into universities, journals, news-papers and publishers. The result of this shift was a toxic and narrow-minded environment where differences of opinion often were met with polemic attacks; or even worse – they were simply ignored. To this environment, Stubberud brought the anti-marxist critique through interviews with some of the new philosophers. These interviews later became the basis for his own book called Anti-Marx (1978). This book sparked heavy debate in Norway. This thesis is an attempt to shed light on the debate following Anti-Marx through an hermeneutic approach to the analysis. The purpose of the thesis is to put the anti-marxist debate in Norway – its’ significance and impact - as well as Stubberud’s role in it all, in its’ historical context. Historie mastergradsoppgave HIS350 MAHF-LÆHR MAHF-HIS

Moderne hochaufgelöste Scheinwerfersysteme sind in der Lage, ihre Lichtverteilung an verschiedene Fahrsituationen anzupassen. Bisher aber wird die vorhandene Straßenbeleuchtung bei der Einstellung des Scheinwerfers nicht berücksichtigt, obwohl diese die photometrischen Bedingungen fundamental ändert. In dieser Arbeit werden die Sichtbarkeitsbedingungen bei gleichzeitiger Beleuchtung durch Kfz-Scheinwerfer und Straßenbeleuchtung sowie deren Einfluss auf die Sichtbarkeit von Objekten untersucht. Basierend auf diesen Untersuchungen werden neue Scheinwerferlichtfunktionen entwickelt, die das Licht bedarfsgerecht nur in die Entfernungen emittieren, in denen ein Mehrwert für den Fahrer erzielt wird. In photometrischen Messungen und Probandenuntersuchungen wurde die Wahrnehmung von Positiv- und Negativkontrasten unterschiedlich stark reflektierender Objekte in verschiedenen Straßenbeleuchtungssituationen untersucht. Dabei zeigte sich, dass die von der Straßenbeleuchtung erzeugten Negativkontraste häufig besser sichtbar waren als die vom Fahrzeugscheinwerfer erzeugten Positivkontraste. Darüber hinaus verschlechterte das Scheinwerferlicht vielfach sogar die Sichtbarkeit der Objekte. Dieser Effekt wurde für verschiedene Objektentfernungen analysiert, sodass für unterschiedliche Straßenbeleuchtungsklassen und Objektreflexionsgrade Entfernungen bestimmt werden konnten, bis zu denen der Kfz-Scheinwerfer bessere Sichtbedingungen erzielte. Darauf aufbauend wurden Scheinwerferlichtverteilungen mit geringerer Reichweite konzipiert, die diese Problematik berücksichtigen und vom System situationsabhängig eingestellt werden können. Somit kann mit weniger Licht eine bessere Sichtbarkeit erzeugt werden, was zusätzlich einen positiven Einfluss auf die Energieeffizienz des Systems sowie die Blendung anderer Verkehrsteilnehmer hat., Modern high-resolution headlamp systems are able to adapt their light distribution to different driving situations. However, the present road lighting is not yet considered, although it fundamentally changes the photometric conditions of the scene. In this thesis, the visibility conditions under simultaneous illumination by automotive headlamps and road lighting and their influence on the visibility of objects are investigated. Based on these investigations, new headlamp functions are developed, which emit light only at distances where it actually assists the visual performance of the driver. In photometric measurements and subject tests, the perception of positive and negative contrasts of differently reflecting objects in various road lighting situations was investigated. It was found that the negative contrasts created by the road lighting were often better visible than the positive contrasts created by the vehicle headlamps. Furthermore, in many cases, the headlamp light actually worsened the visibility of the objects. This effect was analyzed for different distances of the objects. As a result, distances up to which the vehicle headlight creates better visibility conditions could be determined for different road lighting classes and object reflectance levels. Based on this, headlamp light distributions with shorter ranges are proposed that take this problem into account and can be used by the system depending on the situation. Thus, better visibility can be created with less light, which has an additional positive impact on the energy efficiency of the system and the glare of other road users.

In this thesis, we aspire to convey the nature and sense of self of the heavy metal fan culture. Adopting multidimensional methods, we examine how sensory ethnographic research can contribute to the content and design process of a museum's exhibition about heavy metal and its fans. Our compiled methodologies and empirical research consist of the apprentice approach, academic research within the field of heavy metal and interviews with six heavy metal fans for the purpose of gaining valuable first-hand insight in the field. Specifically, our research discusses how to understand and communicate the values, norms, and conventions of the culture, without exposing them in an emotional or aesthetic way.In conclusion, the concert culture and the influence of affect on the body, form and create a significant and loving community and solidarity within the culture. Their sense of self originates from this argument, and the mosh pit is a constant impetus and prism for the norms and core values of the culture. The results from our informants present a discrepancy between the fans and the academic scholars within the field, which surfaces in and defines our research. This discrepancy reveals a clash between an outsider- and an insider-perspective, including wherever metal is estreme, seeks transgression and practices the abject.The heavy metal fans see and discourse themselves as a subculture of outsiders, and through the apprentice method, we as researchers also participate as outsiders. Conveyed and interpreted into a museum narrative, this insight can be a preferable but also powerful concept for Ragnarock - The Museum for Pop, Rock and Youth Culture. For future museum designs, we would recommend applying user-involving design methods to optimize the potential for maximum identification with all that is and could be metal.

Bez obzira je li riječ o zamrznutom kadru ili seriji zamrznutih kadrova koji prikazuju pokret, kadar, kao neprekinuti čin snimanja ili najmanja montažna jedinica, sa svojim odrednicama i komunikacijskim jedinicama, omeđuje, bilježi i čuva prostor i vrijeme. Od početne ideje do završne kreacije serije pokretnih slika, kroz kreativne i produkcijske procese određene tehničkim i umjetničkim aspektima koji, u glazbenom videospotu, pokušavaju prikazati, upotpuniti te spojiti vizualnu i slušnu umjetnost, jedni od važnijih segmenata predstavljeni su kroz izbor kadrova, tj. njihovih unutarnjih odrednica: kompozicija, planova, rakursa, montažne postupke, boju... isto kao i pokrete u kadrovima ili pokrete tih kadrova. Proširivanje semantike i sinestezija više oblika umjetnosti dovodi do upotpunjivanja naracije, osnovne poruke i semiotike kroz svoja denotativna i konotativna značenja, a koja su se htjela komunicirati pokretnim slikama. Neograničenost diskursa, razmišljanje i stvaranje izvan okvira, izvan zadanih mjerila, odrednica i formi, pridonosi stvaranju jedinstvenog autorskog stila i široku viziju u pogledu kreativne produkcije sadržaja. U radu su opisane komunikacijske jedinice videospota kroz svoje tehničke i umjetničke aspekte, a one ovdje poglavito pripadaju produkcijskim i post-produkcijskim procesima izrade. Pored toga, sociološko-umjetnički segment propituje glazbeni video(spot) kao umjetnost u (ko)relaciji s filmom te moderan etnomuzikološki stil i promociju. Prikazana je i analiza autorskog glazbenog videospota. Kroz segment istraživanja o tehničko-umjetničkim odlikama snimljenog glazbenog videospota, identificirana je percepcija šire populacije na razine saturacije i kontrasta primijenjenih u vizualnom segmentu videospota. Dobivene su povratne informacije konzumenata koje mogu utjecati na moguća poboljšanja u primjenjivanju saturacije i kontrasta u pokretnim slikama. Pored toga, po segmentacijskim kriterijima, predstavljeni su i rezultati subjektivnih dojmova ispitanika na slijed i vrstu kadrova, korištene tehnike snimanja i montaže u glazbenom videospotu te prianjanja uz glazbenu temu koja se izvodi. Whether it is a freeze-frame or a series of freeze-frames that show movement, the frame, as a continuous act of recording (shooting) or the smallest editing unit, with its determinants and communication units, delimits, records, and preserves space and time. From the initial idea to the final creation of a series of moving images, through creative and production processes determined by technical and artistic aspects that try to present, complement, and combine visual and auditory art, one of the most essential segments is given through the selection of frames, i.e. their internal determinants: compositions, plans, perspectives, editing techniques, colors... as well as the movements in the frames themselves or the movements of those frames. The expansion of semantics and synesthesia of several forms of art leads to the completion of the narrative, initial message, and semiotics through their denotative and connotative meanings, which were intended to be communicated with moving images. The unlimited discourse, thinking, and creating outside of the box, beyond the given criteria, determinants, and forms, contributes to the creation of a unique author's style and a broad vision in terms of creative content production. The thesis describes the communication units of music videos through their technical and artistic aspects, and they here mainly belong to the production and post-production processes of creation. In addition, the sociological-artistic segment questions the music video as art in (co)relation with film and modern ethnomusicological style and promotion. An analysis of the author's music video is also presented. Through the research segment of the technical and artistic features of the captured music video, the wider population’s perception on the levels of saturation and contrast applied in the visual segment of the video was identified. Consumer feedback was received and that one may influence possible advances and improvements in the application of saturation and contrast in moving images. In addition, sorted by segmentation criteria, the results of the interpretation of the subjective impressions on the sequence and type of frames, the recording and editing techniques used in the music video, and adherence to the musical theme being performed, are also presented.

Mamografija je probirna metoda otkrivanja karcinoma dojke. Razvojem medicinske znanosti i moderne tehnologije, u zdravstveni se sustav uvodi i nova digitalna metoda pod nazivom kontrastna mamografija. Utemeljena je na oslikavanju tkiva dojke korištenjem kontrastnoga sredstva i dual – energy tehnike. Rekombinacijom slika visoke i niske energije dobiju se dvostruke slike : jedna slika niske energije koja odgovara klasičnom mamografskom pregledu, a druga, rekombinirana slika s istaknutom lezijom obojanom kontrastom. Kontrastna mamografija omogućava preciznije isticanje novih, benignih ili malignih tvorbi. S obzirom na visoku osjetljivost ove metode, često se koristi kao zamjena ili nadopuna MR dijagnostici i 3D mamografiji. S obzirom da se tek uvodi u zdravstvene ustanove, postoji vjerojatnost za dodatnim ispitivanjem kakvoće ove metode. Mammography is a screening method for detecting breast cancer. With the development of medical science and modern technology, a new digital method called contrast mammography is being introduced into the healthcare system. It is based on breast tissue imaging using a contrast agent and dual - energy technique. Recombination of high and low energy images produce dual images: one low energy image corresponding to classical mammographic examination, and the other, a recombined image with a prominent contrast - stained lesion. Contrast mammography enables more precise highlighting of new, benign or malignant formations. Due to the high sensitivity of this method, it is often used as a replacement or supplement to MR diagnostics and 3D mammography. Since it is just being introduced in healthcare facilities, there is a possibility testing the quality of this method more prominently.

Das Ziel der Arbeit ist: anhand des literarischen Materials die charakteristischen lexikalischen Mittel (sprachlichen Merkmale) deutscher Witze zu untersuchen; Ermittlung und Verfolgung der Grundgesetze und -prinzipien, die für die Erstellung deutscher Witze in den untersuchten Texten gelten; auf der Grundlage eines gemeinsamen Konzepts die typischen Züge der sprachlichen Merkmale eines deutschen Witzes im globalen Sinne hervorheben. Der Gegenstand der Forschung in dieser Arbeit ist ein Witz als Element der deutschen Kultur, Folklore, Sprache, Literatur. Dieser Beitrag beschreibt den theoretischen Hintergrund der Studie, die Grundkonzepte der Erscheinung „ein Witz“. Es enthält einige Konzepte, die zur Untersuchung der sprachlichen Merkmale eines deutschen Witzes erforderlich sind, und anderer Grundkonzepte der Erscheinung „ein Witz“. Das Beitrag befasst sich mit der Analyse der lexikalischen Werkzeuge, mit denen der deutsche Witz erstellt wurde, sowie ihrer quantitativen Indikatoren, nämlich, wurde die Zusammensetzung der handelnden Personen deutscher Witze und die Häufigkeit der darin verwendeten lexikalischen Einheiten untersucht. Basierend auf unseren statistischen Beobachtungen können wir die folgenden Schlussfolgerungen ziehen: die meisten deutschen Witze basieren auf dem Prinzip kontrastierender handelnden Personen; die am häufigsten verwendeten Wörter in deutschen Witzen bedeuten visuelles Handeln, spiegeln die Dynamik (Bewegung) und Aktivität von Emotionen wider; Deutsche Witze sind hauptsächlich ein Dialog., The purpose of the article is to investigate the characteristic lexical means (linguistic features) of German jokes based on literary material and to determine the principles that apply to the creation of German jokes in the texts considered. The object of research in this work is an anecdote as an element of German culture, folklore, language, literature. In view of the small volume of the article, we have considered only the anecdotes of the German origin (without anecdotes of other countries about the Germans). The subject of the study is the lexical composition, the linguistic features of the German joke. We have thrown light upon the provisions that formed the basis of practical research. The author considers the lexical tools used to create a German anecdote and reinforces the results with tables with data from frequency lists. The result of the study: 1) the structure and distribution of lexical units in the text of German anecdotes were investigated; 2) the lexical composition of the selected anecdotes was perused; 3) the originality of lexical units used to create anecdotes was considered; 4) the functional features of the lexical units used to create studied German anecdotes are determined. Conclusions: Most German anecdotes are based on the principle of participation of contrasting persons (man — woman, adults (parents) — children, spouses — lovers, etc.); the most commonly used words in German anecdotes mean actions reflecting the dynamics (movement), activity, emotionality; German jokes are mostly dialogue. The practical application of the research results is the use of an anecdote as an element in the different studies of German culture, folklore, language, literature, linguistic education, psycholinguistics, linguoculturology., Цель статьи — исследовать характерные лексические средства (лингвистические особенности) немецких анекдотов на основе литературного материала и определить принципы, которые применяются к созданию немецких анекдотов в рассмотренных текстах. Объект исследований в данной работе –анекдот как элемент немецкой культуры, фольклора, языка, литературы. Ввиду небольших масштабов статьи рассмотрены только анекдоты немецкого происхождения (без анекдотов других стран о немцах). Предмет исследования — лексический состав, лингвистические особенности немецкого анекдота. Освещены положения, которые сформировали основу практических исследований. Автор рассматривает лексические средства, используемые для создания немецкого анекдота, подкрепляя результаты таблицами с данными из частотных списков. Результатом исследования стало: 1) рассмотрение структуры и установление закономерностей распределения лексических единиц в тексте немецких анекдотов; 2) изучение лексической композиции выбранных анекдотов; 3) определение оригинальности лексических единиц, используемых для создания анекдотов; 4) выявление функциональных особенностей лексических единиц, используемых для создания немецких анекдотов. Выводы: большинство немецких анекдотов основаны на принципе участия контрастных лиц (мужчина — женщина, взрослые (родители) — дети, супруги — любовники и др.); наиболее часто используемые слова в немецких анекдотах означают выраженные действия, отражают динамику (движение), активность, эмоциональность; большинство немецких анекдотов имеют диалогическую структуру текста. В основе практического применения результатов исследования — использование анекдота как элемента при разнообразном изучении немецкой культуры, фольклора, языка, литературы, лингвострановедения, психолингвистики, лингвокультурологии., Мета статті — дослідити характерні лексичні засоби (лінгвістичні особливості) німецьких анекдотів на підставі літературного матеріалу та визначити принципи, що застосовуються до створення німецьких анекдотів у розглянутих текстах. Об'єкт досліджень у цій роботі — анекдот як елемент німецької культури, фольклору, мови, літера-тури. З огляду на невеликі масштаби статті розглянуто лише анекдоти німецького походження (без анекдотів інших країн про німців). Предмет дослідження — лексичний склад, лінгвістичні особливості німецького анекдоту. Висвітлено положення, що сформували основу практичних досліджень. Автор розглядає лексичні засоби, що використовуються для створення німецького анекдоту, підкріплюючи результати таблицями з даними із частотних списків. Результатом дослідження стало: 1) розгляд структури та встановлення закономірностей розподілу лексичних одиниць у тексті німецьких анекдотів; 2) вивчення лексичної композиції вибраних анекдотів; 3) визначення оригінальності лексичних одиниць, що використовуються для створення анекдотів; 4) виявлення функційних особливостей лексичних одиниць, які застосовують у створенні німецьких анекдотів. Висновки: більшість німецьких анекдотів засновані за принципом участі контрастних осіб (чоловік — жінка, дорослі (батьки) — діти, подружжя — коханці та ін.); найчастіше використовувані слова в німецьких анекдотах означають виражені дії, відбивають динаміку (рух), активність, емоційність; більшість німецьких анекдотів мають діалогічну структуру тексту. В основі практичного застосування результатів дослідження — використання анекдоту як елемента для різноманітного вивчення німецької культури, фольклору, мови, літератури, лінгвокраїнознавства, психолінгвістики, лінгвокультурології

Završni rad se bavi istraživanjem kontrasta crnog i bijelog, te pozitivnog i negativnog prostora. Kroz akromatsko istraživanje propituje se granica između zasjenjenog i osvijetljenog dijela tijela neke odjevne forme.Krajnji rezultat je vlastita kolekcija.

„Zarobljeni trenutci – prošlost i sadašnjost” sastoji se od pet grafika jednakih dimenzija koje prikazuju detalje svakodnevnog života. U cilju mi je bilo prikazati kontrast kroz medije (grafika, fotografija) kao i kroz samu temu odnosa prošlosti i sadašnjosti. Grafike su rađene u kombiniranim tehnikama dubokog tiska te prikazuju vrijeme koje je prošlo, ali ga opet želimo doživjeti i na neki način nastaviti prošlost pomoću sadašnjosti. Kroz umjetničke forme stavljam i samog gledatelja kao jedan veliki dio cijelog ciklusa. Sjećanje, trenutak i prolaznost jedne su od glavnih karakteristike koje opisuju ovu seriju radova. Captured Moments - Past and Present" consists of five prints of equal dimensions that show the details of everyday life. My goal was to show contrast through the media (graphics, photography) and through the topic itself of the relationship between the past and the present. The graphics are made in combined intaglio printing techniques that show the time that has passed, but we want to experience it again and in some way continue the past with the present. Through art forms I put the viewer himself as one big part of the whole cycle. Memory, moment and transience are one of the main characteristics that describe this series of works.

Die vorliegende kontrastive Analyse stützt sich auf das heuristische Verfahren des PREPCON-kontrastiv Moduls, das am Leibniz-Institut für Deutsche Sprache in Mannheim entwickelt worden ist. Das deutsch-slowakisch-spanische PREPCON-Projekt mit insgesamt drei linguistischen Modulen (PREPCON explorativ, temporal und kontrastiv) reflektiert ein breites Forschungsspektrum der sog. Präposition-Nomen-Verbindungen (kurz PWVs). Das Modul PREPCON explorativ bietet eine exhaustive Liste der PWVs im Deutschen entweder aus der Präposition- oder aus der Nomenperspektive. PREPCON temporal nimmt die temporalen PWVs ins Visier und erweitert die Angabe der KWIC3-Belege für die PWVs um verwandte Wörter und Wortgruppen, die Häufigkeit der PWVs im Korpus, ihre typischen Partnerwörter und Muster. Die Vorgehensweise des dritten, d.h. des kontrastiven Moduls, nimmt die PWVs "am Anfang", "auf Anhieb", "mit Genugtuung", "nach Belieben" im interlingualen Kontext unter die Lupe. Das Analysewerkzeug lexpan, das bei der Kontrastierung zum Einsatz gebracht wird, enthüllt wertvolle Muster und typische Kollokationspartner der untersuchten präpositionalen Wortverbindungen und kondensiert die Ergebnisse für eine benutzerfreundliche Verwendung. Eine detaillierte Beschreibung des Modells, Methoden und Formen der Onlinepräsentation der analysierten lexikalisch geprägten Mus- ter ist in Steyer 2018 zu finden. Die linguistische Aufmerksamkeit wird im Rahmen dieses Beitrags der PWV "bez váhania" (wörtlich "ohne Zögern") geschenkt, bei der sich neben der primär beobachtbaren modalen Ausprägung auch eine hypothetische temporale Ladung zeigt. Der Grund für die Auswahl der konkreten Wortverbindung liegt in der unzureichenden Reflektion der temporalen Bedeutung aus lexikografischer Sicht und in der bemerkenswerten, eventuell nicht auf Anhieb erkennbaren "Bipolarität" (modal-temporal) dieses Minimalphrasems. The aim of the paper is to present the innovative methodology of the PREPCON-Group (UWV Group at IDS Mannheim, WICOL-Group at the University of ss. Cyril and Method in Trnava, FRASESPAL-Group in Spain), designed to detect and to visualize the analyses of the fixed word combinations with the pattern PREPOSITION + NOUN. The application of the analytical tool "lexpan" when looking into the preposition + noun combination "bez váhania (without hesitation)" or of its prototypical German equivalent should provide an insight into their typical syntagmatic structures or patterns. The "neglected" temporal meaning of the Slovak preposition + noun combination will also be taken into consideration and demonstrated to a certain extent.

Mühendisler, otonom araçların geliştirilmesi ve yeni özelliklerin kazandırılması için durmadan çalışmaktadırlar. Otonom araçların geliştirilmesi ve yaygınlaştırılabilmesi için çok farklı dallarda çalışmalar yapılmakta ve bu çalışma alanlarında bir tanesi de araç üzerinde bulunan otomotiv aydınlatma ürünleridir. Otonom araçların hayatımıza girmesinden ötürü, araçların çevresindeki sürüş hareketliliğini algılama şekli ve uyarma şekli yeniden tanımlanması gereğini beraberinde getirmiştir. Bu bağlamda otonom araçlarda kullanılacak yeni nesil aydınlatma sistemleri, aracın içerisinde ve dışındaki çevre ile iletişime geçmesini sağlayacak ve otonom araçların kabulüne katkıda bulunacaktır. Gelişen otomotiv aydınlatma sistemleri sayesinde araç içerisinin kişiselleştirilmesinin mümkün olacağı gibi, güvenliği arttıracak, etkileşimli iletişime izin verecek ve daha konforlu bir sürüş hizmetlerine olanak sağlayacaktır. Bu yeni nesil aydınlatma sistemleri hem araç içerisindeki yolcuların hem de araç çevresindeki yaya ve canlıların güvenliğini arttırması ön plandadır. Bu tez çalışmasıyla, araç içerisinde ve dışında özelleştirilebilir, kişiselleştirilebilir, daha algılanabilir ve güvenlik sağlayacağı düşünülen yüksek kontrasta, çözünürlüğe ve kompleks optik lens tasarımlarına sahip logo projeksiyon lambalarının geliştirilmesi hedeflenmiştir. Bu sayede araçların 360° etrafında statik, dinamik ve animasyonlu grafiklerin oluşturulmasıyla otonom araçlarda yol ve sürüş güvenliğinin arttırılması amaçlanmıştır. Bu çalışmada farklı lens sayılarına sahip logo projeksiyon lambalarının optik lens tasarımları ve simülasyonları yapılmıştır. Kontrast ve çözünürlüğe etki eden parametreler belirlenmiş ve aralarındaki ilişki sayısal olarak kıyaslanmıştır. Maliyeti azaltmak, görünebilirliğini arttırmak ve kompakt yapısıyla birçok alanda kullanılabilmesi kolaylaştırmak için farklı elektronik devre tasarım çalışmaları da yapılmıştır. Daha sonrada sanal ortamda yapılan bu çalışmaların nedenli doğruluğa sahip olduklarını göstermek için referans seçilen beş lensli kompleks optik yapıya sahip statik logo projeksiyon lambasının prototip üretimi gerçekleştirilmiştir ve tüm sonuçlar karşılaştırılmıştır. Engineers are constantly working on the development of autonomous vehicles and the introduction of new features. In order to develop and disseminate autonomous vehicles, studies are carried out in many different branches, and one of these fields of study is automotive lighting products on the vehicle. Due to the introduction of autonomous vehicles into our lives, the way of perceiving and warning the driving activity around the vehicles has brought with it the need to be redefined. In this context, the new generation lighting systems to be used in autonomous vehicles will enable the vehicle to communicate with the environment inside and outside of car, and will contribute to the acceptance of autonomous vehicles. Thanks to the developing automotive lighting systems, it will be possible to personalize the interior of the vehicle, as well as increase safety, allow interactive communication and provide more comfortable driving services. These new generation lighting systems are at the forefront of increasing the safety of both the passengers in the vehicle and the pedestrians and living things around the vehicle. With this thesis, it is aimed to develop logo projection lamps with high contrast, resolution and complex optical lens designs that can be customized, personalized, more perceptible and safe inside and outside the vehicle. In this way, it is aimed to increase road and driving safety in autonomous vehicles by creating static, dynamic and animated graphics around the vehicles in 360°. In this study, optical lens designs and simulations of logo projection lamps with different lens numbers were made. Parameters affecting contrast and resolution were determined and the relationship between them was compared numerically. Different electronic circuit design studies were also carried out in order to reduce the cost, increase its visibility and make it easier to use in many areas with its compact structure. Then, prototype production of a static logo projection lamp with a complex optical structure with five lenses, which was selected as reference, was carried out to show that these studies carried out in the virtual environment were accurate and all results were compared. FEKA Otomotiv

Projekt predstavlja potpunu aktivaciju jezera Sabljaci s nizom sadržaja koji tvore cjelovitu atmosferu. Atraktivna lokacija predstavlja izazov u projektiranju različitih programa na jednom mjestu s dva ekstrema: senzacionalno zatečena priroda te potreba za nizom sadržaja ekonomske isplativosti. Projekt radikalno redefinira odnose između arhitekture i landscapea te se odgovara specifičnom organizacijom prostora. Korisnik doživljava autentično iskustvo i atmosferu kroz cjeloviti krug različitih programa. Cilj je arhitektura s minimalnim otiskom na okoliš jer je svetost tla prvenstvena misao. Ta misao djeluje i kroz temu vode-arhitektura se seli na površinu jezera kako bi se naglasila još više priroda i arhitektura kroz kontrast prirodnog i artificijelnog.

This Master’s thesis work is about the conditions that can affect the identification of defects in lithium-ion batteries. In lithium batteries, there are cathode and anode, which are separated with electrically insulative but ionically conductive electrolytes and separators. The cathode consists of aluminum foil, and the anode consists of copper foil. During the production of the batteries, these foils are being coated with active materials. Unfortunately, some defects such as scratches, misshape, marks, or spots can occur during the coating, and these defects harm the batteries’ performance. To ensure a good performance of the batteries, these defects have to be detected and identified. Today, these defects can be detected with a camera that scans the foils. To detect all the defects, even smaller marks, and dots, a new high-resolution sensor was investigated. The new sensor called Contact Image Sensor that acquires the raw information of the light and converts it into electrical signals was used. In other words, all the objects reflect the light, and the Contact Image Sensor captures the reflected light from the objects. By investigating the light, illumination time, and the contrast of the objects, it is possible to make the defects more visible. Furthermore, this thesis covers the speed of the coated foils passing the sensor. Since the production of the batteries should be time and cost-efficient, the speed can be high, but the sensor should have enough time to scan clear images. In this Master’s thesis work the implications of different sensor resolutions and contrast settings in a roll-to-roll process were studied, considering the speed of the process vs identifying defects (such as scratches and misshapes). It has also been studied if the light conditions, under normal circumstances, have a substantial impact on this trade-off. The result has been promising. Since the sensor has an internal resolution, a limited scanning area, and a scanning frequency, the speed will be limited by a maximum illumination time. But as long as the illumination time is under the maximum, the speed, in this case, does not matter. The maximum illumination time is different for different speeds. Furthermore, the results clearly show that high resolution, maximum allowed illumination time for each speed, and lower speeds, provide the best conditions for finding and identifying defects. However, there comes a price for the illuminated foil. The price is that the bright light can lead to overexposed foil, i.e., the part of the foil without coating will be exposed to too much light. This can create problems if damage to the foil is to be identified. Therefore, a more nuanced light that balances the contrast of the coating part and the foil is recommended. Det här masterexamensarbetet handlar om förhållanden som påverkar identifieringen av defekter i litiumjonbatterier. Litiumbatterier består av katod och anod som separeras av elektriskt isolerande men joniskt ledande elektrolyt och separatorer. Katoden består av aluminiumfolie och anoden består av kopparfolie. Under tillverkningen av batterierna beläggs dessa folier med aktiva material. Tyvärr uppstår det ibland skador i beläggningen så som repor, missbildning, märke eller fläckar. Dessa defekter försämrar batteriets prestanda. För att säkerställa att batterierna fungerar felfritt måste dessa defekter upptäckas och elimineras. Idag används kamera som skannar folierna för att hitta defekter. För att upptäcka samtliga skador, bland annat mindre märken och fläckar, övervägs en ny högupplöst sensor. En ny sensor, så kallad Contact Image Sensor, som tar in ljuset och omvandlar det till elektriska signaler undersöks. Med andra ord fångar Contact Image Sensor det reflekterade ljuset från objekten. Genom att undersöka ljusets styrka, belysningstiden och kontrast är det möjligt att göra defekterna mer synliga. Vidare omfattar detta examensarbete hastigheten hos de folierna som passerar sensorn. Under en tids- och kostnadseffektiv produktion av batterier kan hastigheter av foljer vara höga, men sensorn måste ha tillräcklig tid och utrymme att skanna tydliga bilder. Påföljden av olika sensorupplösningar och kontrastinställningar i en roll-to-roll-process har därför studerats i detta examensarbete med hänsyn taget till processens hastighet kontra identifieringen av defekter (såsom repor och missbildningar). Det har också studerats om ljusförhållandena har, under normala omständigheter, en väsentlig inverkan på denna avvägning. Resultatet har varit lovande. Med anledning av sensorns interna upplösning, dess begränsade skanningsområdet, samt skanningsfrekvensen, kommer hastigheten att begränsas av en maximal belysningstid. Men så länge belysningstiden är under maximalt kommer hastigheten inte ha någon betydelse. Denna maximala belysningstid är olika för olika hastigheter. Vidare framgår det tydligt i resultatet att hög upplösning, maximal tillåtna belysningstiden för respektive hastighet, och lägre hastigheter, ger bästa förutsättningar för att hitta och identifiera defekter. Dock kommer ett pris för det upplysta beläggningen av foljen. Priset är att det ljusa ljuset kan leda till överexponerade folje, dvs där den delen av foljen som saknar beläggning utsätts för mycket ljus och kan bländas. Detta kan skapa problem om skador på foljen ska identifieras. En mer nyanserad ljus som balanserar kontrasten av beläggningen och foljen kan därför rekommenderas.

Framgången av mönsterigenkänning inom AI (artificiell intelligens) har skapat höga förväntningar om att AI ska kunna appliceras inom vården, framför allt inom radiologi. Det danska företaget Radiobotics har utvecklat en maskininlärningsbaserad programvara som diagnostiserar knäartros, för att assistera vårdpersonalen i deras arbete. Denna AI-programvara vid namn RBknee analyserar en röntgenbild utifrån tre diagnostiska parametrar som förekommer vid knäartros, för att sedan sammanställa de radiologiska fynden i en skriftlig rapport tillsammans med en slutgiltig diagnos. För att få förståelse för hur RBknees analysförmåga påverkas av en bildkvalitetsförsämring undersöktes för vilken kontrast och brusnivå som RBknee genererar ett felaktigt utlåtande gällande de diagnostiska parametrarna och slutdiagnosen. Vidare undersöktes om graden av knäartros påverkade RBknee analysförmåga vid en bildkvalitetsförsämring. Ett bildunderlag med kliniskt tagna slätröntgenbilder av knän degraderades med avseende på kontrast och brus för att sedan analyseras av RBknee. Förändringar av RBknees utlåtande för de degraderade bilderna jämfört med originalbildens utlåtande sammanställdes och studerades. Resultatet visade att det inte gick att identifiera en specifik försämringsgrad av bildkvaliteten där RBknee genererade ett felaktigt utlåtande. RBknees förmåga att generera ett korrekt utlåtande var bättre vid en kontrastdegradering än vid en brusdegradering. Det konstaterades att en ökad brusnivå ökade risken för ett felaktigt utlåtande av RBknee, samt att brusets position på röntgenbilden hade en påverkan. Det gick även att fastställa att röntgenbilder av knän med en lägre grad av knäartros i högre grad riskerade att få felaktiga utlåtanden av RBknee. The success of pattern recognition in AI (artificial intelligence) has brought high expectations for AI to be applied in healthcare, especially in radiology. A machine learning software for knee osteoarthritis diagnosis has been developed by the Danish company Radiobotics. The AI software, named RBknee, analyses digital radiographs and annotates osteoarthritis related findings. The findings, together with a conclusion, are compiled in a written report. RBknee is intended to assist healthcare professionals in radiographic analysis. How RBknees analytical ability is affected by a reduced image quality was studied by examining the contrast and noise level which cause RBknee to generate incorrect findings and conclusions. If the image quality reduction caused RBknees analytically ability to differ with different degrees of knee osteoarthritis, was also studied. The image quality of clinical digital radiographs of knees was reduced and analysed by RBknee. RBknees findings and conclusion were compared with the report of the original image, where the changes were compiled into tables. No specific reduction of image quality that restricted RBknee analytically ability was established in the study. An increased noise level seemed to increase the risk of receiving an incorrect report by RBknee. RBknees ability to generate correct report was better for contrast degraded images than for images with increased noise level. The position of the noise in the radiograph also seemed to have an impact on RBknees analytical ability. It was also possible to establish that knees with a lower degree of knee osteoarthritis were more likely to receive an incorrect report from RBknee.