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Little Image ^NEW^

Throughout that near-decade, little image morphed from a group of perpetually online suburban teens who were obsessed with underground indie rock and had no idea what they wanted to be into the tight-knit outfit you see today. (Along the way, Bruner toured with platinum-selling act Judah & The Lion.) While many young artists had their careers derailed in 2020 due to COVID, it actually managed to save little image, which was gearing up to announce itself to the world without realizing the members needed more time for reflection.

Little image

Nobody wanted a positive COVID test in 2020. The band did test positive for something good during those dark times; something other than Coronavirus. The guys tested positive for growth and expansion through self-reflection during the lockdown. And, as the world began to emerge from their homes as it became safe to do so, so too, did little image emerge, ready to re-introduce themselves to the world.

Diving deeper, little image seems to have a method to reduce the madness in their lives while writing, creating, and recording by using escapism. I asked them if they went on another hiatus to find the heart of the album.

Along with this classical statement, the artist produced, in 1948, three more paintings of boxlike forms: Black and White Squares, Blue Squares, and White Squares. Each of these works consists of a series of built-up squared-off configurations placed in a gridlike arrangement. Each square is different from the other, but each is part of a legible sequence. Together these images create a total field of pulsating movement giving the illusion of activity backward and forward in space. Krasner has created a systemic structure to organize and control her images which dismisses the techniques of push and pull taught to her by Hans Hofmann to hold the surface of the canvas and to give the illusion of its being a living, growing, ever-changing entity.

Usual Structure-from-Motion (SfM) techniques require at least trifocaloverlaps to calibrate cameras and reconstruct a scene. We consider herescenarios of reduced image sets with little overlap, possibly as low as twoimages at most seeing the same part of the scene. We propose a new method,based on line coplanarity hypotheses, for estimating the relative scale of twoindependent bifocal calibrations sharing a camera, without the need of anytrifocal information or Manhattan-world assumption. We use it to compute SfM ina chain of up-to-scale relative motions. For accuracy, we however also make useof trifocal information for line and/or point features, when present, relaxingusual trifocal constraints. For robustness to wrong assumptions and mismatches,we embed all constraints in a parameterless RANSAC-like approach. Experimentsshow that we can calibrate datasets that previously could not, and that thiswider applicability does not come at the cost of inaccuracy. 041b061a72

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