Aerial SLAM with a single camera using visual expectation

Micro aerial vehicles (MAVs) are a rapidly growing area of research and development in robotics. For autonomous robot operations, localization has typically been calculated using GPS, external camera arrays, or onboard range or vision sensing. In cluttered indoor or outdoor environments, onboard sensing is the only viable option. In this paper we present an appearance-based approach to visual SLAM on a flying MAV using only low quality vision. Our approach consists of a visual place recognition algorithm that operates on 1000 pixel images, a lightweight visual odometry algorithm, and a visual expectation algorithm that improves the recall of place sequences and the precision with which they are recalled as the robot flies along a similar path. Using data gathered from outdoor datasets, we show that the system is able to perform visual recognition with low quality, intermittent visual sensory data. By combining the visual algorithms with the RatSLAM system, we also demonstrate how the algorithms enable successful SLAM.

Assessment of retinal structure and visual function in association with diabetic peripheral neuropathy

Diabetes is an increasingly prevalent disease worldwide. Providing early management of the complications can prevent morbidity and mortality in this population. Peripheral neuropathy, a significant complication of diabetes, is the major cause of foot ulceration and amputation in diabetes. Delay in attending to complication of the disease contributes to significant medical expenses for diabetic patients and the community. Early structural changes to the neural components of the retina have been demonstrated to occur prior to the clinically visible retinal vasculature complication of diabetic retinopathy. Additionally visual functionloss has been shown to exist before the ophthalmoscopic manifestations of vasculature damage. The purpose of this thesis was to evaluate the relationship between diabetic peripheral neuropathy and both retinal structure and visual function. The key question was whether diabetic peripheral neuropathy is the potential underlying factor responsible for retinal anatomical change and visual functional loss in people with diabetes. This study was conducted on a cohort with type 2 diabetes. Retinal nerve fibre layer thickness was assessed by means of Optical Coherence Tomography (OCT). Visual function was assessed using two different methods; Standard Automated Perimetry (SAP) and flicker perimetry were performed within the central 30 degrees of fixation. The level of diabetic peripheral neuropathy (DPN) was assessed using two techniques - Quantitative Sensory Testing and Neuropathy Disability Score (NDS). These techniques are known to be capable of detecting DPN at very early stages. NDS has also been shown as a gold standard for detecting 'risk of foot ulceration'. Findings reported in this thesis showed that RNFL thickness, particularly in the inferior quadrant, has a significant association with severity of DPN when the condition has been assessed using NDS. More specifically it was observed that inferior RNFL thickness has the ability to differentiate individuals who are at higher risk of foot ulceration from those who are at lower risk, indicating that RNFL thickness can predict late-staged DPN. Investigating the association between RNFL and QST did not show any meaningful interaction, which indicates that RNFL thickness for this cohort was not as predictive of neuropathy status as NDS. In both of these studies, control participants did not have different results from the type 2 cohort who did not DPN suggesting that RNFL thickness is not a marker for diagnosing DPN at early stages. The latter finding also indicated that diabetes per se, is unlikely to affect the RNFL thickness. Visual function as measured by SAP and flicker perimetry was found to be associated with severity of peripheral neuropathy as measured by NDS. These findings were also capable of differentiating individuals at higher risk of foot ulceration; however, visual function also proved not to be a maker for early diagnosis of DPN. It was found that neither SAP, nor flicker sensitivity have meaningful associations with DPN when neuropathy status was measured using QST. Importantly diabetic retinopathy did not explain any of the findings in these experiments. The work described here is valuable as no other research to date has investigated the association between diabetic peripheral neuropathy and either retinal structure or visual function.

Forgotten places : rediscovering the small spaces and laneways of Fortitude Valley

A design Charrette was the starting point for understanding the different scales within the design process of this architectural intervention. The week-long, intense design activity promoted group interaction amongst students while examining local issues of the Fortitude Valley context. The process was an opportunity for the fourth year architectural design students to collaborate on a complex design problem. Students were asked to identify a unique condition of their site beyond the physical built environment. They were asked to consider the political and social context and respond to these by designing a temporary art gallery for underdeveloped areas within Fortitude Valley. The exhibition shows how architecture can invigorate a space by providing new use and new life.

Visual voice activity detection using frontal versus profile views

Visual activity detection of lip movements can be used to overcome the poor performance of voice activity detection based solely in the audio domain, particularly in noisy acoustic conditions. However, most of the research conducted in visual voice activity detection (VVAD) has neglected addressing variabilities in the visual domain such as viewpoint variation. In this paper we investigate the effectiveness of the visual information from the speaker’s frontal and profile views (i.e left and right side views) for the task of VVAD. As far as we are aware, our work constitutes the first real attempt to study this problem. We describe our visual front end approach and the Gaussian mixture model (GMM) based VVAD framework, and report the experimental results using the freely available CUAVE database. The experimental results show that VVAD is indeed possible from profile views and we give a quantitative comparison of VVAD based on frontal and profile views The results presented are useful in the development of multi-modal Human Machine Interaction (HMI) using a single camera, where the speaker’s face may not always be frontal.

Thinking feeling

In “Thinking Feeling” a camera zooms in and around an animated constellation of words. There are ten words, each repeated one hundred times. The individual words independently pulse and orbit an invisible nucleus. The slow movements of the words and camera are reinforced by an airy, synthesised soundtrack. Over time, various phrasal combinations form and dissolve on screen. A bit like forcing oneself to sleep, “Thinking Feeling” picks at that fine line between controlling and letting go of thoughts. It creates small mantric loops that slip in and out of focus, playing with the liminal zones between the conscious and unconscious, between language and sensation, between gripping and releasing, and between calm and irritation.

Jams, jelly beans and the fruits of passion - art book (26 Pages)

Statement: Jams, Jelly Beans and the Fruits of Passion Let us search, instead, for an epistemology of practice implicit in the artistic, intuitive processes which some practitioners do bring to situations of uncertainty, instability, uniqueness, and value conflict. (Schön 1983, p40) Game On was born out of the idea of creative community; finding, networking, supporting and inspiring the people behind the face of an industry, those in the mist of the machine and those intending to join. We understood this moment to be a pivotal opportunity to nurture a new emerging form of game making, in an era of change, where the old industry models were proving to be unsustainable. As soon as we started putting people into a room under pressure, to make something in 48hrs, a whole pile of evolutionary creative responses emerged. People refashioned their craft in a moment of intense creativity that demanded different ways of working, an adaptive approach to the craft of making games – small – fast – indie. An event like the 48hrs forces participants’ attention onto the process as much as the outcome. As one game industry professional taking part in a challenge for the first time observed: there are three paths in the genesis from idea to finished work: the path that focuses on mechanics; the path that focuses on team structure and roles, and the path that focuses on the idea, the spirit – and the more successful teams put the spirit of the work first and foremost. The spirit drives the adaptation, it becomes improvisation. As Schön says: “Improvisation consists on varying, combining and recombining a set of figures within the schema which bounds and gives coherence to the performance.” (1983, p55). This improvisational approach is all about those making the games: the people and the principles of their creative process. This documentation evidences the intensity of their passion, determination and the shit that they are prepared to put themselves through to achieve their goal – to win a cup full of jellybeans and make a working game in 48hrs. 48hr is a project where, on all levels, analogue meets digital. This concept was further explored through the documentation process. All of these pictures were taken with a 1945 Leica III camera. The use of this classic, film-based camera, gives the images a granularity and depth, this older slower technology exposes the very human moments of digital creativity. ____________________________ Schön, D. A. 1983, The Reflective Practitioner: How Professionals Think in Action, Basic Books, New York

The role of cognitive and visual abilities as predictors in the Multifactorial Model of Driving Safety

Objective The current study evaluated part of the Multifactorial Model of Driving Safety to elucidate the relative importance of cognitive function and a limited range of standard measures of visual function in relation to the Capacity to Drive Safely. Capacity to Drive Safely was operationalized using three validated screening measures for older drivers. These included an adaptation of the well validated Useful Field of View (UFOV) and two newer measures, namely a Hazard Perception Test (HPT), and a Hazard Change Detection Task (HCDT). Method Community dwelling drivers (n = 297) aged 65–96 were assessed using a battery of measures of cognitive and visual function. Results Factor analysis of these predictor variables yielded factors including Executive/Speed, Vision (measured by visual acuity and contrast sensitivity), Spatial, Visual Closure, and Working Memory. Cognitive and Vision factors explained 83–95% of age-related variance in the Capacity to Drive Safely. Spatial and Working Memory were associated with UFOV, HPT and HCDT, Executive/Speed was associated with UFOV and HCDT and Vision was associated with HPT. Conclusion The Capacity to Drive Safely declines with chronological age, and this decline is associated with age-related declines in several higher order cognitive abilities involving manipulation and storage of visuospatial information under speeded conditions. There are also age-independent effects of cognitive function and vision that determine driving safety.

Was By The Northern Coast

‘Was by the Northern Coast’ was an installation at MetroArts in Brisbane. A pile of warped timber, evocative of a dismantled boat, sits in the middle of the gallery space on a bed of carefully-laid bands of polyester insulation and pine battening. From within the wood stack, the sound of dripping water indicates the flow of water created by a silent internal pump. The sound of water intermingles with a soft soundtrack of Kulning, an archaic form of Scandinavian song. In ‘Was by the Northern Coast’, the detritus of timber mimics the Romantic sublime of the mountain peak and nautical wreckage while the snowy drifts of the Northern European landscape become mistranslated as a field of artificial ceiling insulation. In employing such slippages, the work attempted to create the imaginative landscape of an aesthetic displaced by distance and time.

Stephen Russell : Super Vanitas

This article is an analysis and contextualisation of 'Super Vanitas' a video installation by Stephen Russell that was held at Boxcopy ARI, Brisbane. It discusses the significance of the painting 'Death of Marat' (J.L. David, 1793) to the work and describes the methodological processes that are revealed in the work.

Finitude (Mallee:Time)

An interactive installation with full body interface, digital projection, multi-touch sensitive screen surfaces, interactive 3D gaming software, motorised dioramas, 4.1 spatial sound & new furniture forms - investigating the cultural dimensions of sustainability through the lens of 'time'. “Time is change, time is finitude. Humans are a finite species. Every decision we make today brings that end closer, or alternatively pushes it further away. Nothing can be neutral”. Tony Fry DETAILS: Finitude (Mallee:Time) is a major new media/sculptural hybrid work premiered in 2011 in version 1 at the Ka-rama Motel for the Mildura Palimpsest #8 ('Collaborators and Saboteurs'). Each participant/viewer lies comfortably on their back on the double bed of Room 22. Directly above them, supported by a wooden structure, not unlike a house frame, is a semi-transparent Perspex screen that displays projected 3D imagery and is simultaneously sensitive to the lightest of finger touches. Depending upon the ever changing qualities of the projected image on this screen the participant can see through its surface to a series of physical dioramas suspended above, lit by subtle LED spotlighting. This diorama consists of a slowly rotating series of physical environments, which also include several animatronic components, allowing the realtime composition of whimsical ‘landscapes’ of both 'real' and 'virtual' media. Through subtle, non-didactic touch-sensitive interactivity the participant then has influence over both the 3D graphic imagery, the physical movements of the diorama and the 4.1 immersive soundscape, creating an uncanny blend of physical and virtual media. Five speakers positioned around the room deliver a rich interactive soundscape that responds both audibly and physically to interactions. VERSION 1, CONTEXT/THEORY: Finitude (Mallee: Time) is Version 1 of a series of presentations during 2012-14. This version has been inspired through a series of recent visits and residencies in the SW Victoria Mallee country. Further drawing on recent writings by post colonial author Paul Carter, the work is envisaged as an evolving ‘personal topography’ of place-discovery. By contrasting and melding readily available generalisations of the Mallee regions’ rational surfaces, climatic maps and ecological systems with what Carter calls “a fine capillary system of interconnected words, places, memories and sensations” generated through my own idiosyncratic research processes, Finitude (Mallee Time) invokes a “dark writing” of place through outside eyes - an approach that avoids concentration upon what 'everyone else knows', to instead imagine and develop a sense how things might be. This basis in re-imagining and re-invention becomes the vehicle for the work’s more fundamental intention - as a meditative re-imagination of 'time' (and region) as finite resources: Towards this end, every object, process and idea in the work is re-thought as having its own ‘time component’ or ‘residue’ that becomes deposited into our 'collective future'. Thought this way Finitude (Mallee Time) suggests the poverty of predominant images of time as ‘mechanism’ to instead envisage time as a plastic cyclical medium that we can each choose to ‘give to’ or ‘take away from’ our future. Put another way - time has become finitude.

The Remnant Emergency Artlab

The REMNANT/EMERGENCY Artlab was funded by the Australia Council InterArts ArtLab Program in 2010 and involves 22 months of rigorous research and experimentation in several countries. The process will be developed between a core transdisciplinary team of practicing media artists, designers and engineers where possible working in consultation and collaboration with local creatives at each venue. Our team asserts that today’s environmental crisis is underpinned by a deep cultural crisis - and so to get our ‘house in order’ we urgently need to create better and more powerful ‘images’ of what a ‘citizen-led’, sustainable world might be. This ArtLab’s core aim is therefore to begin to understand how to develop and create such ‘powerful images’.

11:59

At first glance, the gallery seems to be empty. Upon entering however, 11:59 reveals itself to be masking tape placed lackadaisically in seemingly geometric forms. Enter the gallery at 11:59 and you would witness the light and shadows correlate with the gestural marks that have been made. Exploring ideas of time, space, gesture, value and mark-making, this work can be interpreted to be overflowing with confidence and/or impotence. It whispers about site and encounters, over-complication and simplicity, and boldness and hesitancy.

Solo Show

Solo Show is a to-scale model Metro Arts’ gallery, in which it was exhibited. Set upon a timber frame, the model depicts a miniature ‘installation’ within the ‘space’: a foam block that obstructs one of the gallery’s walkways. Developed and produced for a group exhibition that explored the relationship between humour and art, this work explores and pokes fun at ideas of the institution, scale and the artist ego as well as communicating feelings of emergence, insecurity and hesitancy. The work was included in the group show 'Lean Towards Indifference!' at MetroArts, Brisbane, curated by art collective No Frills.

me as al, you as bobby, me as bobby, you as al

In ‘me as al, you as bobby, me as bobby, you as al’, appropriated footage is looped and supplemented with superimposed text, creating a scenario where Robert De Niro and Al Pacino endlessly stalk each other, with their readied-guns chased by hovering words. These titans of Hollywood screen acting represent opposing approaches to the construction of filmic identity, and as the text labels loosely adhere to one weapon and the next, the action on screen becomes an investigation of the subjective and objective potential within screen surrogate constructions of personalized identity. The work was included in the group show 'Vernacular Terrain' (curated by Lubi Thomas and Steven Danzig) for the Songzhuang Art Museum, Beijing.

Explosive Revelations

‘Explosive Revelations’ employs the device of the Hollywood-style explosion to expose the constructed and futile nature of the moving image. Pointless, impotent explosions bloom and fade, punctuating a non-existent narrative – they promise the spectacle of violence but destroy nothing and disappear without a trace. The video itself is sourced from a stock footage supplier that provides users with a selection of explosions that can be inserted into movies by masking out the background. However, the footage is not used as intended, leaving them instead as merely explosions erupting on top of a black background, fizzling out into non-existence. The work was included in the 2008 'Light in Winter' program at Federation Square, Melbourne, directed by Robyn Archer.