Human behaviour recognition in data-scarce domains

This paper presents the novel theory for performing multi-agent activity recognition without requiring large training corpora. The reduced need for data means that robust probabilistic recognition can be performed within domains where annotated datasets are traditionally unavailable. Complex human activities are composed from sequences of underlying primitive activities. We do not assume that the exact temporal ordering of primitives is necessary, so can represent complex activity using an unordered bag. Our three-tier architecture comprises low-level video tracking, event analysis and high-level inference. High-level inference is performed using a new, cascading extension of the Rao–Blackwellised Particle Filter. Simulated annealing is used to identify pairs of agents involved in multi-agent activity. We validate our framework using the benchmarked PETS 2006 video surveillance dataset and our own sequences, and achieve a mean recognition F-Score of 0.82. Our approach achieves a mean improvement of 17% over a Hidden Markov Model baseline.

Sound Art and Public Engagement in the Built Environment: Reflections from an Architecture Center

This article explores the deployment of sound in architectural-curatorial and community engagement contexts through the work of PLACE, a multidisciplinary not-for-profit architecture center in Belfast, Northern Ireland. The author, who worked with PLACE and contributed to the projects discussed here, contextualizes architecture centers and their relationship with sound before examining the specific case of sound and sound art in Northern Ireland and case studies of projects delivered by PLACE. Specifically, the article evaluates two sound installation artworks and three community engagement projects for young audiences. As a means of curating urbanism and architecture, sound-art-as-public-art affords useful strategies to examine, describe or critique the environment as alternatives to traditional architecture exhibition formats. Sound’s temporality and materiality allow sound art works to exist as temporary sculptural interventions in the urban sphere, with attendant implications for public art procurement and urban acoustics. Rich territories of engagement are opened when using sound in a community participatory context.