Visual Arts Data Skills for Researchers (VADS4R)

Workshop at Open Repositories 2014, Helsinki, Finland, June 9-13, 2014

Fedora 4 as a Shared Linked Data repository for the Art Institute of Chicago Collections

Presentation at Open Repositories 2014, Helsinki, Finland, June 9-13, 2014

Waste Management in Commercial Activity: State-of-the-Art and the Potential Innovation in the Urban Areas of Hanoi, Vietnam

As the rapid development of the society as well as the lifestyle, the generation of commercial waste is getting more complicated to control. The situation of packaging waste and food waste – the main fractions of commercial waste in different countries in Europe and Asia is analyzed in order to evaluate and suggest necessary improvements for the existing waste management system in the city of Hanoi, Vietnam. From all waste generation sources of the city, a total amount of approximately 4000 tons of mixed waste is transported to the composting facility and the disposal site, which emits a huge amount of 1,6Mt of GHG emission to the environment. Recycling activity is taking place spontaneously by the informal pickers, leads to the difficulty in managing the whole system and uncertainty of the overall data. With a relative calculation, resulting in only approximately 0,17Mt CO2 equivalent emission, incinerator is suggested to be the solution of the problem with overloaded landfill and raising energy demand within the inhabitants.

Casus vulneris cum fractura olecrani et ruptura ancyloseos verae complicati; quem venia exper. fac. med. praeside Joh. Agap. Törngren, m. d. chir. [et] art. obst. professore p. [et] o. Pro gradu medico publicae submittit censurae Andreas Jacobus Hjertman, stip. publ. Obstrob. [!] In audit. med. die XXVI Octob. MDCCCXVI, h. a. & p. m. s

Dedikaatio: Carolus Mannerheim.

Generative Part-Based Gabor Object Detector

Object detection is a fundamental task of computer vision that is utilized as a core part in a number of industrial and scientific applications, for example, in robotics, where objects need to be correctly detected and localized prior to being grasped and manipulated. Existing object detectors vary in (i) the amount of supervision they need for training, (ii) the type of a learning method adopted (generative or discriminative) and (iii) the amount of spatial information used in the object model (model-free, using no spatial information in the object model, or model-based, with the explicit spatial model of an object). Although some existing methods report good performance in the detection of certain objects, the results tend to be application specific and no universal method has been found that clearly outperforms all others in all areas. This work proposes a novel generative part-based object detector. The generative learning procedure of the developed method allows learning from positive examples only. The detector is based on finding semantically meaningful parts of the object (i.e. a part detector) that can provide additional information to object location, for example, pose. The object class model, i.e. the appearance of the object parts and their spatial variance, constellation, is explicitly modelled in a fully probabilistic manner. The appearance is based on bio-inspired complex-valued Gabor features that are transformed to part probabilities by an unsupervised Gaussian Mixture Model (GMM). The proposed novel randomized GMM enables learning from only a few training examples. The probabilistic spatial model of the part configurations is constructed with a mixture of 2D Gaussians. The appearance of the parts of the object is learned in an object canonical space that removes geometric variations from the part appearance model. Robustness to pose variations is achieved by object pose quantization, which is more efficient than previously used scale and orientation shifts in the Gabor feature space. Performance of the resulting generative object detector is characterized by high recall with low precision, i.e. the generative detector produces large number of false positive detections. Thus a discriminative classifier is used to prune false positive candidate detections produced by the generative detector improving its precision while keeping high recall. Using only a small number of positive examples, the developed object detector performs comparably to state-of-the-art discriminative methods.

Catalogus librorum & instrumentorum chirurgicorum b. m. viri Josephi Pippingsköld, m. d. profess. chirurg. [et] art. obstetr. ad Imp. Acad. Aboëns. nec non imp. coll. med. assessoris, sub hasta d. Oct. XXX & sqq. a. MDCCCXVI

Julkaisuvuosi nimekkeestä.

Secular Possession: Cinematic Iconography of Addiction

Addiction, and the experience of being addicted, is notoriously difficult to describe verbally and explain rationally. Would multifaceted and multisensory cinematic images work better in making addiction understandable? This study enquires how cinematic expression can render visible the experience of being addicted which is invisible as such. The basic data consists of circa 50 mainly North American and European fiction films from the early 1900s to the early 2000s that deal with addictive disorders as defined in the psychiatric DSM-V classification (substance dependence- and gambling disorders). The study develops an approach for analyzing and interpreting a large volume of digital film data: digital cinematic iconography is a framework to study the multifaceted cinematic images by processing and viewing them in the “digital image-laboratory” of the computer. Images are cut and classified by editing software and algorithmic sorting. The approach draws on early 1900s German art historian Aby Waburg’s image research and media archaeology, that are connected to film studies inspired by the phenomenology of the body and Gilles Deleuze’s film-philosophy. The first main chapter, “Montage”, analyses montage, gestural and postural images, and colors in addiction films. The second main chapter, “Thingness”, focuses on the close-ups of material objects and faces, and their relation to the theme of spirituality in cinema and art history, The study argues that the cinema engages the spectator to "feel" what addiction is through everyday experience and art historical imagery. There is a particular, historically transmitted cinematic iconography of addiction that is profane, material, thing-centered, abject, and repetitive. The experience of being addicted is visualized through montages of images characterized by dark and earthy colors, horizontal compositions and downward- directed movements. This is very profane and secular imagery that, however, circulates image-historical traces of Christian iconography, such as that of being in the grip of an unknown power.