Automatically Evolving Rotation-invariant Texture Image Descriptors by Genetic Programming

In computer vision, training a model that performs classification effectively is highly dependent on the extracted features, and the number of training instances. Conventionally, feature detection and extraction are performed by a domain-expert who, in many cases, is expensive to employ and hard to find. Therefore, image descriptors have emerged to automate these tasks. However, designing an image descriptor still requires domain-expert intervention. Moreover, the majority of machine learning algorithms require a large number of training examples to perform well. However, labelled data is not always available or easy to acquire, and dealing with a large dataset can dramatically slow down the training process. In this paper, we propose a novel Genetic Programming based method that automatically synthesises a descriptor using only two training instances per class. The proposed method combines arithmetic operators to evolve a model that takes an image and generates a feature vector. The performance of the proposed method is assessed using six datasets for texture classification with different degrees of rotation, and is compared with seven domain-expert designed descriptors. The results show that the proposed method is robust to rotation, and has significantly outperformed, or achieved a comparable performance to, the baseline methods.

From Kandinsky to Java (The Use of 20th Century Abstract Art in Learning Programming)

At the University of Worcester we are continually striving to find new approaches to the learning and teaching of programming, to improve the quality of learning and the student experience. Over the past three years we have used the contexts of robotics, computer games, and most recently a study of Abstract Art to this end. This paper discusses our motivation for using Abstract Art as a context, details our principles and methodology, and reports on an evaluation of the student experience. Our basic tenet is that one can view the works of artists such as Kandinsky, Klee and Malevich as Object-Oriented (OO) constructions. Discussion of these works can therefore be used to introduce OO principles, to explore the meaning of classes, methods and attributes and finally to synthesize new works of art through Java code. This research has been conducted during delivery of an “Advanced OOP (Java)” programming module at final-year Undergraduate level, and during a Masters’ OO-Programming (Java) module. This allows a comparative evaluation of novice and experienced programmers’ learning. In this paper, we identify several instructional factors which emerge from our approach, and reflect upon the associated pedagogy. A Catalogue of ArtApplets is provided at the associated web-site.

Common Environment for Undergraduate Computer Programming

We present an Integrated Environment suitable for learning and teaching computer programming which is designed for both students of specialised Computer Science courses, and also non-specialist students such as those following Liberal Arts. The environment is rich enough to allow exploration of concepts from robotics, artificial intelligence, social science, and philosophy as well as the specialist areas of operating systems and the various computer programming paradigms.

An Integrated Programming Environment for Undergraduate Computing Courses

The Computing Division of the Business School at University College Worcester provides computing and information technology education to a range of undergraduate students. Topics include various approaches to programming, artificial intelligence, operating systems and digital technologies. Each of these has its own potentially conflicting requirements for a pedagogically sound programming environment. This paper describes an endeavor to develop a common programming paradigm across all topics. This involves the combined use of autonomous robots and Java simulations.

The Visual Arts as a Canvas for Teaching Computer Programming

We explore the relationships between the construction of a work of art and the crafting of a computer program in Java and suggest that the structure of paintings and drawings may be used to teach the fundamental concepts of computer programming. This movement "from Art to Science", using art to drive computing, complements the common use of computing to inform art. We report on initial experiences using this approach with undergraduate and postgraduate students. An embryonic theory of the correspondence between art and computing is presented and a methodology proposed to develop this project further.