Curved Inertia Frames: Visual Attention and Perceptual Organization Using Convexity and Symmetry

In this paper we present an approach to perceptual organization and attention based on Curved Inertia Frames (C.I.F.), a novel definition of "curved axis of inertia'' tolerant to noisy and spurious data. The definition is useful because it can find frames that correspond to large, smooth, convex, symmetric and central parts. It is novel because it is global and can detect curved axes. We discuss briefly the relation to human perception, the recognition of non-rigid objects, shape description, and extensions to finding "features", inside/outside relations, and long- smooth ridges in arbitrary surfaces.

Computer Analysis of Visual Properties of Curved Objects

A method is presented for the visual analysis of objects by computer. It is particularly well suited for opaque objects with smoothly curved surfaces. The method extracts information about the object's surface properties, including measures of its specularity, texture, and regularity. It also aids in determining the object's shape. The application of this method to a simple recognition task ??e recognition of fruit ?? discussed. The results on a more complex smoothly curved object, a human face, are also considered.

Swimming in Space-Time

Cyclic changes in the shape of a quasi-rigid body on a curved manifold can lead to net translation and/or rotation of the body in the manifold. Presuming space-time is a curved manifold as portrayed by general relativity, translation in space can be accomplished simply by cyclic changes in the shape of a body, without any thrust or external forces.

Mid-Level Vision and Recognition of Non-Rigid Objects

We address mid-level vision for the recognition of non-rigid objects. We align model and image using frame curves - which are object or "figure/ground" skeletons. Frame curves are computed, without discontinuities, using Curved Inertia Frames, a provably global scheme implemented on the Connection Machine, based on: non-cartisean networks; a definition of curved axis of inertia; and a ridge detector. I present evidence against frame alignment in human perception. This suggests: frame curves have a role in figure/ground segregation and in fuzzy boundaries; their outside/near/top/ incoming regions are more salient; and that perception begins by setting a reference frame (prior to early vision), and proceeds by processing convex structures.

The Synthesis of Stable Force-Closure Grasps

This thesis addresses the problem of synthesizing grasps that are force-closure and stable. The synthesis of force-closure grasps constructs independent regions of contact for the fingertips, such that the motion of the grasped object is totally constrained. The synthesis of stable grasps constructs virtual springs at the contacts, such that the grasped object is stable, and has a desired stiffness matrix about its stable equilibrium. A grasp on an object is force-closure if and only if we can exert, through the set of contacts, arbitrary forces and moments on the object. So force-closure implies equilibrium exists because zero forces and moment is spanned. In the reverse direction, we prove that a non-marginal equilibrium grasp is also a force-closure grasp, if it has at least two point contacts with friction in 2D, or two soft-finger contacts or three hard-finger contacts in 3D. Next, we prove that all force-closure grasps can be made stable, by using either active or passive springs at the contacts. The thesis develops a simple relation between the stability and stiffness of the grasp and the spatial configuration of the virtual springs at the contacts. The stiffness of the grasp depends also on whether the points of contact stick, or slide without friction on straight or curved surfaces of the object. The thesis presents fast and simple algorithms for directly constructing stable fore-closure grasps based on the shape of the grasped object. The formal framework of force-closure and stable grasps provides a partial explanation to why we stably grasp objects to easily, and to why our fingers are better soft than hard.

Shape from Contour

The problem of using image contours to infer the shapes and orientations of surfaces is treated as a problem of statistical estimation. The basis for solving this problem lies in an understanding of the geometry of contour formation, coupled with simple statistical models of the contour generating process. This approach is first applied to the special case of surfaces known to be planar. The distortion of contour shape imposed by projection is treated as a signal to be estimated, and variations of non-projective origin are treated as noise. The resulting method is then extended to the estimation of curved surfaces, and applied successfully to natural images. Next, the geometric treatment is further extended by relating countour curvature to surface curvature, using cast shadows as a model for contour generation. This geometric relation, combined with a statistical model, provides a measure of goodness-of-fit between a surface and an image contour. The goodness-of-fit measure is applied to the problem of establishing registration between an image and a surface model. Finally, the statistical estimation strategy is experimentally compared to human perception of orientation: human observers' judgements of tilt correspond closely to the estimates produced by the planar strategy.

Computer Recognition of Three-Dimensional Objects in a Visual Scene

Methods are presented (1) to partition or decompose a visual scene into the bodies forming it; (2) to position these bodies in three-dimensional space, by combining two scenes that make a stereoscopic pair; (3) to find the regions or zones of a visual scene that belong to its background; (4) to carry out the isolation of objects in (1) when the input has inaccuracies. Running computer programs implement the methods, and many examples illustrate their behavior. The input is a two-dimensional line-drawing of the scene, assumed to contain three-dimensional bodies possessing flat faces (polyhedra); some of them may be partially occluded. Suggestions are made for extending the work to curved objects. Some comparisons are made with human visual perception. The main conclusion is that it is possible to separate a picture or scene into the constituent objects exclusively on the basis of monocular geometric properties (on the basis of pure form); in fact, successful methods are shown.

The Perception of Subjective Surfaces

It is proposed that subjective contours are an artifact of the perception of natural three-dimensional surfaces. A recent theory of surface interpolation implies that "subjective surfaces" are constructed in the visual system by interpolation between three-dimensional values arising from interpretation of a variety of surface cues. We show that subjective surfaces can take any form, including singly and doubly curved surfaces, as well as the commonly discussed fronto-parallel planes. In addition, it is necessary in the context of computational vision to make explicit the discontinuities, both in depth and in surface orientation, in the surfaces constructed by interpolation. It is proposed that subjective surfaces and subjective contours are demonstrated. The role played by figure completion and enhanced brightness contrast in the determination of subjective surfaces is discussed. All considerations of surface perception apply equally to subjective surfaces.