Anàlisis de la viabilitat de la utilització d'histogrames de color per a la classificació d'obres d'art

L'objectiu principal d'aquest treball és establir si l'anàlisi dels histogrames de color és eficient per classificar obres d'art. A partir d'un conjunt d'imatges d'obres d'art els atributs de les quals coneixem, s'ha generat un programari que permet establir la precisió de la classificació en cas que es fes servir com a conjunt d'entrenament per a reconèixer altres imatges.

An analysis of visual adaptation and contrast perception for tone mapping

Tone Mapping is the problem of compressing the range of a High-Dynamic Range image so that it can be displayed in a Low-Dynamic Range screen, without losing or introducing novel details: The final image should produce in the observer a sensation as close as possible to the perception produced by the real-world scene. We propose a tone mapping operator with two stages. The first stage is a global method that implements visual adaptation, based on experiments on human perception, in particular we point out the importance of cone saturation. The second stage performs local contrast enhancement, based on a variational model inspired by color vision phenomenology. We evaluate this method with a metric validated by psychophysical experiments and, in terms of this metric, our method compares very well with the state of the art.

Human-Computer Interaction with older people through ethnographical lenses: everyday interactions with ICT

Report for the scientific sojourn carried out at the School of Computing of the University of Dundee, United Kingdom, from 2010 to 2012. This document is a scientific report of the work done, main results, publications and accomplishment of the objectives of the 2-year post-doctoral research project with reference number BP-A 00239. The project has addressed the topic of older people (60+) and Information and Communication Technologies (ICT), which is a topic of growing social and research interest, from a Human-Computer Interaction perspective. Over a 2-year period (June 2010-June 2012), we have conducted classical ethnography of ICT use in a computer clubhouse in Scotland, addressing interaction barriers and strategies, social sharing practices in Social Network Sites, and ICT learning, and carried out rapid ethnographical studies related to geo-enabled ICT and e-government services towards supporting independent living and active ageing. The main results have provided a much deeper understanding of (i) the everyday use of Computer-Mediated Communication tools, such as video-chats and blogs, and its evolution as older people’s experience with ICT increases over time, (ii) cross-cultural aspects of ICT use in the north and south of Europe, (iii) the relevance of cognition over vision in interacting with geographical information and a wide range of ICT tools, despite common stereotypes (e.g. make things bigger), (iv) the important relationship offline-online to provide older people with socially inclusive and meaningful eservices for independent living and active ageing, (v) how older people carry out social sharing practices in the popular YouTube, (vi) their user experiences and (vii) the challenges they face in ICT learning and the strategies they use to become successful ICT learners over time. The research conducted in this project has been published in 17 papers, 4 in journals – two of which in JCR, 5 in conferences, 4 in workshops and 4 in magazines. Other public output consists of 10 invited talks and seminars.

Color sensation in figurative painting

The figurative painter accesses very complex levels of knowledge. To produce a painting requires, first, a deep analysis of the image of the reality and, afterwards, the study of the reconstruction of this reality. This is not about a process of copying, but a process of the comprehension of the concepts that appear in the representation. The drawing guides us in the process of the production of the surface and in the distribution of the colours that, after all, are the data with which the vision mechanism builds the visual reality. Knowing the colour and its behaviour have always been a requirement for the figurative painter. From that knowledge we can draw wider conclusions.

Retrieving Cloud Characteristics from Ground-Based Daytime Color All-Sky Images

A discussion is presented of daytime sky imaging and techniques that may be applied to the analysis of full-color sky images to infer cloud macrophysical properties. Descriptions of two different types of skyimaging systems developed by the authors are presented, one of which has been developed into a commercially available instrument. Retrievals of fractional sky cover from automated processing methods are compared to human retrievals, both from direct observations and visual analyses of sky images. Although some uncertainty exists in fractional sky cover retrievals from sky images, this uncertainty is no greater than that attached to human observations for the commercially available sky-imager retrievals. Thus, the application of automatic digital image processing techniques on sky images is a useful method to complement, or even replace, traditional human observations of sky cover and, potentially, cloud type. Additionally, the possibilities for inferring other cloud parameters such as cloud brokenness and solar obstruction further enhance the usefulness of sky imagers

Preferred Spatial Frequencies for Human Face Processing Are Associated with Optimal Class Discrimination in the Machine

Psychophysical studies suggest that humans preferentially use a narrow band of low spatial frequencies for face recognition. Here we asked whether artificial face recognition systems have an improved recognition performance at the same spatial frequencies as humans. To this end, we estimated recognition performance over a large database of face images by computing three discriminability measures: Fisher Linear Discriminant Analysis, Non-Parametric Discriminant Analysis, and Mutual Information. In order to address frequency dependence, discriminabilities were measured as a function of (filtered) image size. All three measures revealed a maximum at the same image sizes, where the spatial frequency content corresponds to the psychophysical found frequencies. Our results therefore support the notion that the critical band of spatial frequencies for face recognition in humans and machines follows from inherent properties of face images, and that the use of these frequencies is associated with optimal face recognition performance.

Manipulador robótico con visión artificial

En los tiempos que corren la robótica forma uno de los pilares más importantes en la industria y una gran noticia para los ingenieros es la referente a las ventas de estos, ya que en 2013, unos 179.000 robots industriales se vendieron en todo el mundo, de nuevo un máximo histórico y un 12% más que en 2012 según datos de la IFR (International Federation of Robotics). Junto a esta noticia, la robótica colaborativa entra en juego en el momento que los robots y los seres humanos deben compartir el lugar de trabajo sin que nos veamos excluidos por las maquinas, por lo tanto lo que se intenta es que los robots mejoren la calidad del trabajo al hacerse cargo de los trabajos peligrosos, tediosos y sucios que no son posibles o seguros para los seres humanos. Otro concepto muy importante y directamente relacionado con lo anterior que está muy en boga y se escucha desde hace relativamente poco tiempo es el de la fabrica del futuro o “Factory Of The Future” la cual intenta que los operarios y los robots encuentren la sintonía en el entorno laboral y que los robots se consideren como maquinaria colaborativa y no como sustitutiva, considerándose como uno de los grandes nichos productivos en plena expansión. Dejando a un lado estos conceptos técnicos que nunca debemos olvidar si nuestra carrera profesional va enfocada en este ámbito industrial, el tema central de este proyecto está basado, como no podía ser de otro modo, en la robótica, que junto con la visión artificial, el resultado de esta fusión, ha dado un manipulador robótico al que se le ha dotado de cierta “inteligencia”. Se ha planteado un sencillo pero posible proceso de producción el cual es capaz de almacenar piezas de diferente forma y color de una forma autónoma solamente guiado por la imagen capturada con una webcam integrada en el equipo. El sistema consiste en una estructura soporte delimitada por una zona de trabajo en la cual se superponen unas piezas diseñadas al efecto las cuales deben ser almacenadas en su lugar correspondiente por el manipulador robótico. Dicho manipulador de cinemática paralela está basado en la tecnología de cables, comandado por cuatro motores que le dan tres grados de libertad (±X, ±Y, ±Z) donde el efector se encuentra suspendido sobre la zona de trabajo moviéndose de forma que es capaz de identificar las características de las piezas en situación, color y forma para ser almacenadas de una forma ordenada según unas premisas iníciales.