The results indicate the clear dependence of distribution features on the spatial scales. The multiscale spatial distributions of pits were analyzed by dividing the montage image into a number of different windows. The diameters and locations of all the pits were determined simultaneously using an image recognition algorithm, followed by statistical analysis of the two-dimensional spatial point pattern. Montage images of the corrosion pits were obtained, with a single image containing a large number of corrosion pits. Pitting corrosion for high strength pipeline steel exposed to sodium chloride solution was observed using an optical microscope. In the present study, a new multiscale method is proposed for the statistical analysis of spatial distribution of massive corrosion pits, based on the image recognition of high resolution and large field-of-view (montage) optical images. On a very general level, contemporary tendencies of montage can be analysed as chronotopical montage. The traditional theory of montage is rooted in classical literature, while new media experience opens up new possibilities for understanding mechanisms of montage. A new understanding of montage is also fruitful for the new interpretation of the chronotopical structure of narrative texts. ![]() The specificity of this film is very close to later tendencies in using montage: the movement from a temporal understanding of montage to spatial montage in contemporary new media and 3D-movies. At the same time, it is an innovative film from the point of view of text composition as well as combination of traditional montage with intersemiotic montage in which the speech of the heroes, the messages of the songs and repetition of visual and musical motifs are juxtaposed to create historical and ideological ambiguity. The Estonian film The Last Relic offers an interesting case of ideological intersemiotic translation.
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