Automatic and adaptable registration of live RGBD video streams sharing partially overlapping views

In this thesis, we introduce DeReEs-4v, an algorithm for unsupervised and automatic registration of two video frames captured depth-sensing cameras. DeReEs-4V receives two RGBD video streams from two depth-sensing cameras arbitrary located in an indoor space that share a minimum amount of 25% overlap between their captured scenes. The motivation of this research is to employ multiple depth-sensing cameras to enlarge the field of view and acquire a more complete and accurate 3D information of the environment. A typical way to combine multiple views from different cameras is through manual calibration. However, this process is time-consuming and may require some technical knowledge. Moreover, calibration has to be repeated when the location or position of the cameras change. In this research, we demonstrate how DeReEs-4V registration can be used to find the transformation of the view of one camera with respect to the other at interactive rates. Our algorithm automatically finds the 3D transformation to match the views from two cameras, requires no human interference, and is robust to camera movements while capturing. To validate this approach, a thorough examination of the system performance under different scenarios is presented. The system presented here supports any application that might benefit from the wider field-of-view provided by the combined scene from both cameras, including applications in 3D telepresence, gaming, people tracking, videoconferencing and computer vision.

The mermaid series of Elizabethan and Jacobean dramatists (1887-1909): a literary and critical history

The Mermaid Series (1887-1909) edited by Havelock Ellis was a major watershed in appreciation of Elizabethan and Jacobean drama. Before it appeared plays were available to general readers in scattered anthologies, large expensive collected editions or in expurgated selections which included only the more lyrical speeches and memorable scenes. Criticism of the drama followed suit; the majority of critics concentrated on the sections which appealed to the romantic and sentimental tastes of nineteenthcentury readers. The two men who conceived the Mermaid Series, John Addington Symonds and Havelock Ellis, approached the drama differently from their contemporaries; Symonds studied a play as a whole work of art and Ellis concentrated on its view of life. Both were unsatisfied with the "select beauties", fragmented approach and wanted readers to have the best plays in their entirety easily available in handy, inexpensive editions. Symonds's awareness of the drama as theatre was combined with a historical perspective allowing him to judge the drama in relation to its own time. He made a lasting but hitherto underestimated contribution to study of Beaumont and Fletcher, Dekker, Marlowe, and Ford. Ellis's work on the drama is overshadowed today by his studies of sex but his concentration on ideas and appreciation of unconventional behaviour enabled him to formulate new views on Ford, Middleton and Chapman. The two other major editors to work on the series, A. C. Swinburne and Arthur Symons had more conventional nineteenth-century approaches. Both were impressionistic critics who were most attracted to the l~nguage of the drama. Swinburne, however, occasionally transcended his fragmented approach and offered significant interpretations of Tourneur, Massinger; 'The .Changeling, Heywood. Symons's range was more limited but his form of impressionism was valuable for its concentration on the aesthetic experience at the heart of a work of art. His most important contributions were the study of Middleton and Massinger. Besides these four major critics numerous lesser writers worked on the series. Their editorial work was valuable and some, notably Ernest Rhys, c. H. Herford and Thomas Dickinson offered criticism of enduring importance. In my first chapter I consider the general availability of texts of the Elizabethan and Jacobean drama in the nineteenth century, the general attitudes towards the drama, and the critical approaches of each of the editors. The subsequent chapters are organized around the volumes of the series. I consider the climate of opinion in which each appeared, assess its critical and editorial contribution and evaluate the work of the other Mermaid editors on the dramatist included in the volume. My study shows that the concept of the Mermaid Series and the work of its editors helped to revolutionize study of the Elizabethan and Jacobean dramatists by providing good texts and by pointing the way to our present view of the plays as whole works of art.