Distributed low-power image processing in wireless sensor networks for intelligent video surveillance applications

Distributed Wireless Smart Camera (DWSC) network is a special type of Wireless Sensor Network (WSN) that processes captured images in a distributed manner. While image processing on DWSCs sees a great potential for growth, with its applications possessing a vast practical application domain such as security surveillance and health care, it suffers from tremendous constraints. In addition to the limitations of conventional WSNs, image processing on DWSCs requires more computational power, bandwidth and energy that presents significant challenges for large scale deployments. This dissertation has developed a number of algorithms that are highly scalable, portable, energy efficient and performance efficient, with considerations of practical constraints imposed by the hardware and the nature of WSN. More specifically, these algorithms tackle the problems of multi-object tracking and localisation in distributed wireless smart camera net- works and optimal camera configuration determination. Addressing the first problem of multi-object tracking and localisation requires solving a large array of sub-problems. The sub-problems that are discussed in this dissertation are calibration of internal parameters, multi-camera calibration for localisation and object handover for tracking. These topics have been covered extensively in computer vision literatures, however new algorithms must be invented to accommodate the various constraints introduced and required by the DWSC platform. A technique has been developed for the automatic calibration of low-cost cameras which are assumed to be restricted in their freedom of movement to either pan or tilt movements. Camera internal parameters, including focal length, principal point, lens distortion parameter and the angle and axis of rotation, can be recovered from a minimum set of two images of the camera, provided that the axis of rotation between the two images goes through the camera's optical centre and is parallel to either the vertical (panning) or horizontal (tilting) axis of the image. For object localisation, a novel approach has been developed for the calibration of a network of non-overlapping DWSCs in terms of their ground plane homographies, which can then be used for localising objects. In the proposed approach, a robot travels through the camera network while updating its position in a global coordinate frame, which it broadcasts to the cameras. The cameras use this, along with the image plane location of the robot, to compute a mapping from their image planes to the global coordinate frame. This is combined with an occupancy map generated by the robot during the mapping process to localised objects moving within the network. In addition, to deal with the problem of object handover between DWSCs of non-overlapping fields of view, a highly-scalable, distributed protocol has been designed. Cameras that follow the proposed protocol transmit object descriptions to a selected set of neighbours that are determined using a predictive forwarding strategy. The received descriptions are then matched at the subsequent camera on the object's path using a probability maximisation process with locally generated descriptions. The second problem of camera placement emerges naturally when these pervasive devices are put into real use. The locations, orientations, lens types etc. of the cameras must be chosen in a way that the utility of the network is maximised (e.g. maximum coverage) while user requirements are met. To deal with this, a statistical formulation of the problem of determining optimal camera configurations has been introduced and a Trans-Dimensional Simulated Annealing (TDSA) algorithm has been proposed to effectively solve the problem.

Tactile abstractions [Exhibition Catalogue Essay]

Among the many meanings of abstraction is the focus on images that are at a distance from their origins. This understanding of abstraction is central to Savanhdary Vongpoothorn’s layered, textured and sensuous canvas Crossing (2003). The references in this painting to Laotian textile design and creation endows it with the sense of a fabric-like nature, gives it the feel of cloth wrapped around bodies and of threads woven into complex symmetrical patterns. Here, the distance from origins is expressed as a separation from the material forms of Lao culture. At the same time the work is a visual reference to the stretching or bending of forms, the breaking up of shapes in the natural or constructed environment, all of which create an expressive effect through the warm rose grid and visual illusions of movement and travel. This visual play suggests the sense that migration or movement is a means through which cultural forms get recoded and translated. The making of Crossing like many of Savanhdary’s works involved manipulation of the canvas through pricking and poking, and then the application of layers and dots of paint. The overall effect is one of a synthesis of different cultural motifs and the addition of new dimensions to familiar forms. This highlights the centrality of the idea of 'reassemblage’ in abstraction, the processes of remaking of self, of the natural world and of cultural artefacts. Savanhdary constructs intricate laced knots of colour and texture in work which expresses the possibilities presented by travel, migration and the subsequent remixture that emerges upon crossing through different cultural worlds.

Task constraints

Newell (1985, 1986) identified the importance of interacting constraints on the emergent behaviours of learners or performers in sport as they assemble functional states of movement organisation in achieving task goals. Constraints, related to the person, task and environment, were defined as ‘boundaries or features that limit motion of the entity under consideration at any moment in time’ (Newell, 1986, p.347). Personal (or organismic) constraints include factors such as individual anthropometrics (height, weight, and limb lengths), fitness (e.g., strength, speed, aerobic capacity, and flexibility), mental skills (e.g. concentration, confidence, emotional control and motivation), perceptual and decisionmaking skills (e.g., recognising patterns of play, anticipation by reading the movements of opponents) and personality factors (e.g., risk taking or conservative behaviours). Newell (1986, p.350) distinguished between general environmental constraints, such as gravity, ambient temperature, natural light and altitude and task constraints, which are task specific and concerned with the goals of a specific activity. More recently, socio-cultural constraints (e.g., family support, cultural expectations and access to facilities) have also been considered as environmental constraints. Application of the constraints framework to the study of sport performance has led to task constraints being defined to include factors such as rules of games, equipment used, boundary playing areas and markings, nets and goals, the number of...

Feral pig populations are structured at fine spatial scales in tropical Queensland, Australia

Feral pigs occur throughout tropical far north Queensland, Australia and are a significant threat to biodiversity and World Heritage values, agriculture and are a vector of infectious diseases. One of the constraints on long-lasting, local eradication of feral pigs is the process of reinvasion into recently controlled areas. This study examined the population genetic structure of feral pigs in far north Queensland to identify the extent of movement and the scale at which demographically independent management units exist. Genetic analysis of 328 feral pigs from the Innisfail to Tully region of tropical Queensland was undertaken. Seven microsatellite loci were screened and Bayesian clustering methods used to infer population clusters. Sequence variation at the mitochondrial DNA control region was examined to identify pig breed. Significant population structure was identified in the study area at a scale of 25 to 35 km, corresponding to three demographically independent management units (MUs). Distinct natural or anthropogenic barriers were not found, but environmental features such as topography and land use appear to influence patterns of gene flow. Despite the strong, overall pattern of structure, some feral pigs clearly exhibited ancestry from a MU outside of that from which they were sampled indicating isolated long distance dispersal or translocation events. Furthermore, our results suggest that gene flow is restricted among pigs of domestic Asian and European origin and non-random mating influences management unit boundaries. We conclude that the three MUs identified in this study should be considered as operational units for feral pig control in far north Queensland. Within a MU, coordinated and simultaneous control is required across farms, rainforest areas and National Park Estates to prevent recolonisation from adjacent localities.

Can an Australian rap fan be a social actor in the African-American social movements?

I live in the Sydney North Shore suburb of Northbridge. In many ways it is a white middle class enclave, comparable to places like Cabramatta that are identified with a specifically represented ethnic group. Gated primarily by the inflated property prices, it is a location that marks a territory principally for the white middle class. It is not a place of African-American movements. Or is it? Radio, television, film and Internet increasingly constitute a large portion of the sonic and visual landscapes of our suburban lives. In our lounge rooms and in our cars we are presented texts that take us beyond our local environments, into the places of other nations. This paper will explore the position of a fan of rap music, physically located beyond the cultural and political circumstances that drive sustained action for the movements of African-Americans. It will analyze whether such a fandom can indicate membership, as a social actor, in this group and in doing so illuminate the boundaries of movement activity in an information society.

Inpatient facial expression recognition with SMS alert

Facial expression recognition (FER) has been dramatically developed in recent years, thanks to the advancements in related fields, especially machine learning, image processing and human recognition. Accordingly, the impact and potential usage of automatic FER have been growing in a wide range of applications, including human-computer interaction, robot control and driver state surveillance. However, to date, robust recognition of facial expressions from images and videos is still a challenging task due to the difficulty in accurately extracting the useful emotional features. These features are often represented in different forms, such as static, dynamic, point-based geometric or region-based appearance. Facial movement features, which include feature position and shape changes, are generally caused by the movements of facial elements and muscles during the course of emotional expression. The facial elements, especially key elements, will constantly change their positions when subjects are expressing emotions. As a consequence, the same feature in different images usually has different positions. In some cases, the shape of the feature may also be distorted due to the subtle facial muscle movements. Therefore, for any feature representing a certain emotion, the geometric-based position and appearance-based shape normally changes from one image to another image in image databases, as well as in videos. This kind of movement features represents a rich pool of both static and dynamic characteristics of expressions, which playa critical role for FER. The vast majority of the past work on FER does not take the dynamics of facial expressions into account. Some efforts have been made on capturing and utilizing facial movement features, and almost all of them are static based. These efforts try to adopt either geometric features of the tracked facial points, or appearance difference between holistic facial regions in consequent frames or texture and motion changes in loca- facial regions. Although achieved promising results, these approaches often require accurate location and tracking of facial points, which remains problematic.

Altered copy

In 2008, Jenny Roche commissioned Jodi Melnick to make the solo Business of the Bloom on her. Four years later, Roche re-enters this piece and draws on their many years of working together to inhabits its ideas and impulses from a new perspective. In this new 'altered copy', Roche refers to this previous work; embellishing, redirecting and abstracting moments. By reinterpreting both her earlier self and footage of Melnick dancing a reworked version of the solo in performance, Roche connects with the polyvalent nature of both interpretation and memory. This reworked version outlines the relationship that dancers have to movement traces that circulate after a dancing event. Suzanne Ravn (2009) found that dancers experienced the reapperance of movement traces from previous works when moving. Martin Nachbar (2012) writing from his first-person perspective as a dancer, describes the dancer who discerns between the past of movement that is remembered and the current moment of its performance. He outlines how past and present movement experiences cohabitate in the embodied present. Timmy de Laet (2012) identifies the emerging trait of re-enactment in contemporary dance, in which contemporary artists such as Nachbar dialogue with past choreographies to comment on the various mnemonic dimensions of dance. De Laet (2012) explains that the function of these works are not to preserve the past choreographies as might be achieved through reconstruction but to contemplate creatively issues of ephemerality and preservation of dance. Altered copy addresses this dialogue between the past and present body.

Material traces : reflecting on dance performance and the archive

How dance history should be conserved, like any other human event is problematical. This article refers to the dancer’s embodied repertoire of movement and questions how it might connect with the archive, so that the recording of dance work is not taken as fully representative of the work itself. I propose opening out the multi-dimensional configuring that is part of the creation of a dance piece in order to flesh out the bones of the archive. This could be done through engaging with the choreographer and the performers (who are often co-creators of the work) to draw a range of insights and perspectives together.

Intervertebral staple grading system with micro-CT

Introduction Intervertebral stapling is a leading method of fusionless scoliosis treatment which attempts to control growth by applying pressure to the convex side of a scoliotic curve in accordance with the Hueter-Volkmann principle. In addition to that, staples have the potential to damage surrounding bone during insertion and subsequent loading. The aim of this study was to assess the extent of bony structural damage including epiphyseal injury as a result of intervertebral stapling using an in vitro bovine model. Materials and Methods Thoracic spines from 6-8 week old calves were dissected and divided into motion segments including levels T4-T11 (n=14). Each segment was potted in polymethylemethacrylate. An Instron Biaxial materials testing machine with a custom made jig was used for testing. The segments were tested in flexion/extension, lateral bending and axial rotation at 37⁰C and 100% humidity, using moment control to a maximum 1.75 Nm with a loading rate of 0.3 Nm per second for 10 cycles. The segments were initially tested uninstrumented with data collected from the tenth load cycle. Next an anterolateral 4-prong Shape Memory Alloy (SMA) staple (Medtronic Sofamor Danek, USA) was inserted into each segment. Biomechanical testing was repeated as before. The staples were cut in half with a diamond saw and carefully removed. Micro-CT scans were performed and sagittal, transverse and coronal reformatted images were produced using ImageJ (NIH, USA).The specimens were divided into 3 grades (0, 1 and 2) according to the number of epiphyses damaged by the staple prongs. Results: There were 9 (65%) segments with grade 1 staple insertions and 5 (35%) segments with grade 2 insertions. There were no grade 0 staples. Grade 2 spines had a higher stiffness level than grade 1 spines, in all axes of movement, by 28% (p=0.004). This was most noted in flexion/extension with an increase of 49% (p=0.042), followed by non-significant change in lateral bending 19% (p=0.129) and axial rotation 8% (p=0.456) stiffness. The cross sectional area of bone destruction from the prongs was only 0.4% larger in the grade 2 group compared to the grade 1 group (p=0.961). Conclusion Intervertebral staples cause epiphyseal damage. There is a difference in stiffness between grade 1 and grade 2 staple insertion segments in flexion/extension only. There is no difference in the cross section of bone destruction as a result of prong insertion and segment motion.

Boundary swaying

This practice-led research is positioned within my ongoing enquiry into the dancer’s experience and role within the creative process. Gins and Arakawa (1997) and Keane (2007) speak to the unsatisfactory reliance on discipline boundaries, to describe the dynamic lived-experience of interaction. This theorising is of application to this project, which examines creative agency through the lens of Arakawa and Gins’ language prompt, boundary-swaying. In this project the boundaries of movement creator, performer and director overlap and blur through the use of improvisation and multiple cameras. All contributors are invested creatively and compositionally in the ensuing dynamic collaboration, wearing many hats, ‘conceiver, creative thinker, teacher and learner’ (McKechnie 2005, 93; Stevens & McKechnie 2005, 250). This project asked the question, how can the work of Arakawa and Gins to agitate, disrupt, and transform the modus operandi of creative practice between choreographer and practice, dancer and practice and choreographer and dancer? The use of Arakawa and Gins’ philosophy and language prompts within this project stimulated and positively influenced the established creative relationship of researcher and choreographer/artist in the following ways: • Foregrounded the dancers tacit knowledge, first-hand experience, know-how and embodied savviness; • Promoted artistic collaboration, illuminating new creative possibilities, choices and innovation; • Facilitated the distribution of creative authority and agency. This creative work was presented as part of the AG3 ONLINE: the Third International Arakawa and Gins - Architecture and Philosophy Conference. The work was vetted for inclusion by an international panel of examiners.

Interacting motile agents : taking a mean-field approach beyond monomers and nearest-neighbor steps

We consider a discrete agent-based model on a one-dimensional lattice, where each agent occupies L sites and attempts movements over a distance of d lattice sites. Agents obey a strict simple exclusion rule. A discrete-time master equation is derived using a mean-field approximation and careful probability arguments. In the continuum limit, nonlinear diffusion equations that describe the average agent occupancy are obtained. Averaged discrete simulation data are generated and shown to compare very well with the solution to the derived nonlinear diffusion equations. This framework allows us to approach a lattice-free result using all the advantages of lattice methods. Since different cell types have different shapes and speeds of movement, this work offers insight into population-level behavior of collective cellular motion.

Loss Control

A exhibition of sculptural assemblages that continue my exploration of self-portraiture and the sculptural object. The work specifically extends the formal vocabulary of my studio to incorporate smaller composite arrangements with an emphasis on the sculptural support. Small objects that are either modelled or cast from life are assembled into four tableaux that respond to the object-relations that arise through the production process. The resulting exhibiton thus acts a meditation on the ontology of art practice, conceived as a topology of objects.

12 minute dances

A collection of short works which are the result of a year-long period of movement reflection and investigation by Liz Roche with a core group of Rex Levitates dancers. The works appear as a wash of colour, movement, rhythm and emotion; human embodiment as a dynamic event. The audience completes the picture. A picture lives by companionship, expanding and quickening in the eyes of the sensitive observer - Mark Rothko (Painter, 1903 - 1970)."

Mapping the unmappable

Mapping the Unmappable? the Choreography Shared Material on Dying through the Lens of the Technogenetic Dancer. If choreographic movement is a trace, which is already behind at the moment of its appearance, the impulses that move the dancer could be understood to reside in the virtual. Whether they are the internalized instructions of the choreographer, the inscriptions of concepts on the dancing body which shape how the dancer moves, or movement material that has been incorporated over time, this gestalt is somewhat mapped before is materialized. Erin Manning describes the moment before it manifests as the preacceleration of the movement, when the potentialities of the gesture collapse and stabilize into form. This form is transient, appearing as a trace that is dissolving as soon as it appears. In her critique of some approaches to collaborations between dance and technology she describes technology as a prosthetic that constrains the dancer's movement by inducing this collapse into stability and thus limiting the potentiality of the technogenetic body of the dancer. Thus the technology becomes the focus rather than the sophisticated sensorial skills of the dancer in movement. Using this challenge as a provocation, I have explored methods for mapping a choreographed phrase of movement from the piece entitled Shared Material on Dying by Irish choreographer, Liz Roche. I will explore the virtual space before this dance is materialized, through the frame of a technogenetic body. I will uncover, through phenomenological enquiry, the constituent elements that are embedded in this virtual map, that is, the associations, sensations and spatio-temporal reference points that have been incorporated over time. The purpose is to point to possible directions in mapping the virtual dance space and to understand choreographed movements not just in terms of their material trace but also in terms of the associations, sensations and perceptions that give a specific choreography its identity. This undertaking has relevance for archiving dance. This presentation will involve danced choreography alongside documented material to explore multiple perspectives on the piece and the experience of dancing it.

The elaboration likelihood model : review, critique and research agenda

Purpose: The purpose of this paper is to review, critique and develop a research agenda for the Elaboration Likelihood Model (ELM). The model was introduced by Petty and Cacioppo over three decades ago and has been modified, revised and extended. Given modern communication contexts, it is appropriate to question the model’s validity and relevance. Design/methodology/approach: The authors develop a conceptual approach, based on a fully comprehensive and extensive review and critique of ELM and its development since its inception. Findings: This paper focuses on major issues concerning the ELM. These include model assumptions and its descriptive nature; continuum questions, multi-channel processing and mediating variables before turning to the need to replicate the ELM and to offer recommendations for its future development. Research limitations/implications: This paper offers a series of questions in terms of research implications. These include whether ELM could or should be replicated, its extension, a greater conceptualization of argument quality, an explanation of movement along the continuum and between central and peripheral routes to persuasion, or to use new methodologies and technologies to help better understanding consume thinking and behaviour? All these relate to the current need to explore the relevance of ELM in a more modern context. Practical implications: It is time to question the validity and relevance of the ELM. The diversity of on- and off-line media options and the variants of consumer choice raise significant issues. Originality/value: While the ELM model continues to be widely cited and taught as one of the major cornerstones of persuasion, questions are raised concerning its relevance and validity in 21st century communication contexts.