Automatic estimation of crowd density using texture

This paper considers the role of automatic estimation of crowd density and its importance for the automatic monitoring of areas where crowds are expected to be present. A new technique is proposed which is able to estimate densities ranging from very low to very high concentration of people, which is a difficult problem because in a crowd only parts of people's body appear. The new technique is based on the differences of texture patterns of the images of crowds. Images of low density crowds tend to present coarse textures, while images of dense crowds tend to present fine textures. The image pixels are classified in different texture classes and statistics of such classes are used to estimate the number of people. The texture classification and the estimation of people density are carried out by means of self organising neural networks. Results obtained respectively to the estimation of the number of people in a specific area of Liverpool Street Railway Station in London (UK) are presented. (C) 1998 Elsevier B.V. Ltd. All rights reserved.

On the efficacy of texture analysis for crowd monitoring

The goal of this work is to assess the efficacy of texture measures for estimating levels of crowd densities ill images. This estimation is crucial for the problem of crowd monitoring. and control. The assessment is carried out oil a set of nearly 300 real images captured from Liverpool Street Train Station. London, UK using texture measures extracted from the images through the following four different methods: gray level dependence matrices, straight lille segments. Fourier analysis. and fractal dimensions. The estimations of dowel densities are given in terms of the classification of the input images ill five classes of densities (very low, low. moderate. high and very high). Three types of classifiers are used: neural (implemented according to the Kohonen model). Bayesian. and an approach based on fitting functions. The results obtained by these three classifiers. using the four texture measures. allowed the conclusion that, for the problem of crowd density estimation. texture analysis is very effective.

Estimation of crowd density using image processing

Human beings perceive images through their properties, like colour, shape, size, and texture. Texture is a fertile source of information about the physical environment. Images of low density crowds tend to present coarse textures, while images of dense crowds tend to present fine textures. This paper describes a new technique for automatic estimation of crowd density, which is a part of the problem of automatic crowd monitoring, using texture information based on grey-level transition probabilities on digitised images. Crowd density feature vectors are extracted from such images and used by a self organising neural network which is responsible for the crowd density estimation. Results obtained respectively to the estimation of the number of people in a specific area of Liverpool Street Railway Station in London (UK) are presented.

Estimating crowd density with Minkowski fractal dimension

The estimation of the number of people in an area under surveillance is very important for the problem of crowd monitoring. When an area reaches an occupation level greater than the projected one, people's safety can be in danger. This paper describes a new technique for crowd density estimation based on Minkowski fractal dimension. Fractal dimension has been widely used to characterize data texture in a large number of physical and biological sciences. The results of our experiments show that fractal dimension can also be used to characterize levels of people congestion in images of crowds. The proposed technique is compared with a statistical and a spectral technique, in a test study of nearly 300 images of a specific area of the Liverpool Street Railway Station, London, UK. Results obtained in this test study are presented.

Real-time crowd density estimation using images

This paper presents a technique for real-time crowd density estimation based on textures of crowd images. In this technique, the current image from a sequence of input images is classified into a crowd density class. Then, the classification is corrected by a low-pass filter based on the crowd density classification of the last n images of the input sequence. The technique obtained 73.89% of correct classification in a real-time application on a sequence of 9892 crowd images. Distributed processing was used in order to obtain real-time performance. © Springer-Verlag Berlin Heidelberg 2005.

Poe diante do espelho: uma nova leitura da literatura fantástica

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Cinema e Walter Benjamin: para uma vivência da descontinuidade

Este artigo é uma iniciativa de destacar alguns elementos a respeito das reflexões de Walter Benjamin sobre o cinema, uma arte que, segundo o próprio autor, responde aos anseios perceptivos do homem moderno, àquele para o qual foi negada qualquer experiência. O cinema, “a obra de arte na era de sua reprodutibilidade técnica”, por excelência, é, para o autor, o marco de uma nova percepção, de uma nova relação entre público e obra de arte: a percepção coletiva. O que a multidão busca não é a contemplação ou o recolhimento diante da obra de arte, mas a sua distração. Fato que o cinema, ao reproduzir em sua forma o conceito benjaminiano de “experiência do choque”, por meio das sucessivas exposições de seus fragmentos, interrompendo constantemente a associação de idéias dos espectadores, insiste em colocar em pauta, (re)afirmando o caráter de diversão da arte moderna. Entretanto, para o autor, o cinema dialeticamente responde à diversão como o instrumento adequado para uma pedagogia das multidões — por meio de uma arte emancipada, as massas também se emancipariam.

Reminiscências de Poe em contos machadianos

A reflection on Machado de Assis established relationship with the North American writer Edgar Allan Poe short stories is proposed here. A comparison between the short stories The Man of the Crowd and Só! [Lonely] is made in order to set the contrast between characters and theme treatment, fictionally elaborated by the two writers, considering the concept of influence within the framework of Comparative Literature.

A intersemiose texto-história-cinema na minissérie ROMA da HBO

From August 2005 to March 2007, the two seasons (with 12 and 10 episodes respectively) of the award winning miniseries HBO‟s ROME were aired by the Home Box Office (HBO) channel. With screenplay signed by various writers and directors, the TV series was a coproduction of HBO (USA) and BBC (UK) with support from RAI (Italy), and the show was filmed in multiple locations, but mainly in Cinecittà Film Studios in Rome, very famous for having been headquarters also for Federico Fellini‟s movies. In the first season, the miniseries depicts the conquest of Gaul, made by the military genius of Gaius Julius Caesar, and the political trajectory that made him accumulate power to such an extent that this divided Roman citizens into two factions, one supporting and the other opposing him, the latter focused mainly on the historic figure of General Gnaeus Pompey Magnus. The second season shows the period of civil war following the assassination of Caesar, and the future rise to power of his nephew, adopted son and sole heir, Gaius Octavian Augustus, who was destined to overcome his rivals as well as their allies in the triumvirate that had been formed to pursue and punish Caesar‟s assassins. These facts are well known and usually crowd the mind and imagination of every minimally educated person. The HBO series broke new ground not only for the talent of its writers, directors and actors, not only for its visual effects and locations nor for the vibrancy and grandeur of historical scenes – after all, “historical movies” in general do the same – but it has done so also by the (re)construction of historical events from the perspective of a pair of protagonists of whom too little is known: the centurions Titus Pullo and Lucius Vorenus, who are the only low-rank soldiers mentioned by Caesar in his book Commentaries on the Gallic War (Commentarii de Bello Gallico V.44). Thus, the fictionalization of events also took into account several Roman civilization data which were scattered through historical sources and also those that belong to the modern knowledge of material culture, resulting in a TV series whose filmic aesthetics has rare beauty and creativity. From the survey of textual, historical and cultural data put together in this film, as well as the distance featuring the creative space in the dimension of the gap between them, this paper aims to highlight two pivotal moments of visual and narrative strategies of the show: the opening credits footage and the final scenes of the first season of HBO's Rome.

O Brasil que não é bem assim: representações do Brasil na cobertura da Copa do Mundo 2014 pelo jornal The Guardian

Pós-graduação em Comunicação - FAAC