Increase urban freight efficiency with delivery and servicing plan

Delivery and Servicing Plan (DSP) is an innovative logistics concept for more efficient organisation of deliveries from the point of view of the receiver of the goods. DSP actions tested in this study include reducing the number of suppliers, grouping deliveries, selecting less distant suppliers and others. It is shown that DSP can help reduce externalities and lead to a substantial reduction of costs. A new tool was developed to calculate the benefits of different DSP options for businesses and the public sector. Reductions in costs and externalities exceeding 50% have been demonstrated in a few cases. Remaining difficulties with the concept are organisational issues, lack of knowledge, need to give external advisory support for shop owners and the limited number of successful applications to date.

A case study in identifying acceptable bitrates for human face recognition tasks

Face recognition from images or video footage requires a certain level of recorded image quality. This paper derives acceptable bitrates (relating to levels of compression and consequently quality) of footage with human faces, using an industry implementation of the standard H.264/MPEG-4 AVC and the Closed-Circuit Television (CCTV) recording systems on London buses. The London buses application is utilized as a case study for setting up a methodology and implementing suitable data analysis for face recognition from recorded footage, which has been degraded by compression. The majority of CCTV recorders on buses use a proprietary format based on the H.264/MPEG-4 AVC video coding standard, exploiting both spatial and temporal redundancy. Low bitrates are favored in the CCTV industry for saving storage and transmission bandwidth, but they compromise the image usefulness of the recorded imagery. In this context, usefulness is determined by the presence of enough facial information remaining in the compressed image to allow a specialist to recognize a person. The investigation includes four steps: (1) Development of a video dataset representative of typical CCTV bus scenarios. (2) Selection and grouping of video scenes based on local (facial) and global (entire scene) content properties. (3) Psychophysical investigations to identify the key scenes, which are most affected by compression, using an industry implementation of H.264/MPEG-4 AVC. (4) Testing of CCTV recording systems on buses with the key scenes and further psychophysical investigations. The results showed a dependency upon scene content properties. Very dark scenes and scenes with high levels of spatial–temporal busyness were the most challenging to compress, requiring higher bitrates to maintain useful information.

The artist biopic: a historical analysis of narrative cinema, 1934-2010

The thesis provides an historical overview of the artist biopic that has emerged as a distinct sub-genre of the biopic as a whole, totalling some ninety films from Europe and America alone since the first talking artist biopic in 1934. Their making usually reflects a determination on the part of the director or star to see the artist as an alter-ego. Many of them were adaptations of successful literary works, which tempted financial backers by having a ready-made audience based on a pre-established reputation. The sub-genre’s development is explored via the grouping of films with associated themes and the use of case studies. These examples can then be used as models for exploring similar sets of data from other countries and time periods. The specific topics chosen for discussion include the representation of a single painter, for example, Vincent Van Gogh, to see how the treatment of an artist varies across several countries and over seventy years. British artist biopics are analysed as a case study in relation to the idea of them posing as a national stereotype. Topics within sex and gender studies are highlighted in analysis of the representation of the female artist and the queer artist as well as artists who have lived together as couples. A number of well-known gallery artists have become directors of artist biopics and their films are considered to see what particular insights a professional working artist can bring to the portrayal of artistic genius and creation. In the concluding part of the thesis it is argued that the artist biopic overall has survived the bad press which some individual productions have received and can even be said to have matured under the influence of directors producing a quality product for the art house, festival and avant-garde distribution circuits. As a genre it has proved extremely adaptable and has reflected the changing attitudes towards art and artists within the wider community. It has both encouraged renewed interest in the work of established national artists and also raised the profile of those relatively obscure such as Séraphine de Senlis and Pirosmani.