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Structures of Image Collections- From Chauvet-Pont-d' Arc to Flickr

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					Traditional collections of images from those in museums to those in family photo
albums—tend to be organized along traditional lines, whether chronologically, by
type, by subject or event, or by some other common denominator normally
determined by professionals in the field. The combination of digital cameras,
computers, and the Internet has allowed a huge number of images to be taken and
made available to a far, far larger audience than has ever been possible before. This in
turn brings about Replica Cartier the need for a reexamination of how images are
organized and presented, the characteristics that can and should be used to create
image collections, and, most importantly, the role of user needs and preferences in
forming these collections.
 The fifteen chapters of this indexed textbook fall under the overarching idea that the
user's interests should be the foremost consideration when an image collection is
being assembled and when the contents of that collection are being described. Howard
F. Greisdorf and Brian C. O'Connor cover three main topics: what collections are and
why they are made, what images are for and how they are described, and the main
problems and the new realities of the new image-seeking user. The authors
acknowledge that they do not cover several topics in the field of image indexing, most
notably content-based image retrieval and other physically oriented issues, but offer
this work as an examination of the concerns surrounding the subject indexing of
images, a sort of state-of-the-question address to the community. The authors note that
we tend to collect things not just images but other items as well as a way to help us
remember a particular time, place, or event. A collection need not be defined by the
proximity of its items to one another, nor does it need to be viewable to Tag Heuer
Replica Watches a large portion of potential viewers. It simply needs to be usable for
some purpose by at least one person. In collections of visual materials, we see shapes
and boundaries first, then shadows and textures, then color and hue. It is only after we
perceive these attributes of the physical image that we can begin to address the
meaning inherent in that image.
 Greisdorf and O'Connor write, "As a result, we tend to live, work, and play in two
different worlds, constantly vacillating between them. One being the world of
perception, filled with appearances, and the other being the world of conception, filled
with words, based on how we think" (p. 18). Humans collect things based on both of
these notions, but these things may or may not constitute a collection as we may
normally think of it. In our homes, we might have collections of things on the
refrigerator door, in the attic, or scattered about the house, but to us these are still
collections and are organized in such a way that we derive some sort of benefit from
them and this is what the authors say matters, that there is some reasonable
explanation for the collection to be constituted as we may find it. We find this idea far
more prevalent today than twenty years ago because various Internet realities have
allowed for more diverse and less structured collections made for reasons sometimes
having less to do with helping us remember and more to do with aesthetics,
community, or whim.