Real-Time Adaptive Multi-Classifier Multi-Resolution Visual Tracking Framework for Unmanned Aerial Vehicles

This paper presents a novel robust visual tracking framework, based on discriminative method, for Unmanned Aerial Vehicles (UAVs) to track an arbitrary 2D/3D target at real-time frame rates, that is called the Adaptive Multi-Classifier Multi-Resolution (AMCMR) framework. In this framework, adaptive Multiple Classifiers (MC) are updated in the (k-1)th frame-based Multiple Resolutions (MR) structure with compressed positive and negative samples, and then applied them in the kth frame-based Multiple Resolutions (MR) structure to detect the current target. The sample importance has been integrated into this framework to improve the tracking stability and accuracy. The performance of this framework was evaluated with the Ground Truth (GT) in different types of public image databases and real flight-based aerial image datasets firstly, then the framework has been applied in the UAV to inspect the Offshore Floating Platform (OFP). The evaluation and application results show that this framework is more robust, efficient and accurate against the existing state-of-art trackers, overcoming the problems generated by the challenging situations such as obvious appearance change, variant illumination, partial/full target occlusion, blur motion, rapid pose variation and onboard mechanical vibration, among others. To our best knowledge, this is the first work to present this framework for solving the online learning and tracking freewill 2D/3D target problems, and applied it in the UAVs.

Luz industrial e imagen tecnificada: de Moholy Nagy al C.A.V.S. (Center for Advanced Visual Studies)

El desarrollo de la tecnolog��a de la luz implicar�� la transformaci��n de la vida social, cultural y econ��mica. Tanto las consideraciones espaciales del Movimiento Moderno, como los efectos producidos por la segunda Guerra Mundial, tendr��n efectos visibles en las nuevas configuraciones espaciales y en la relaci��n simbi��tica y rec��proca que se dar�� entre ideolog��a y tecnolog��a. La transformaci��n en la comprensi��n de la articulaci��n espacial, asociada al desarrollo tecnol��gico, afectar�� al modo en que este espacio es experimentado y percibido. El espacio expositivo y el espacio esc��nico se convertir��n en laboratorio pr��ctico donde desarrollar y hacer comprensible todo el potencial ilusorio de la luz, la proyecci��n y la imagen, como par��metros modificadores y dinamizadores del espacio arquitect��nico. Esta experimentaci��n espacial estar�� precedida por la investigaci��n y creaci��n conceptual en el mundo pl��stico, donde los nuevos medios mec��nicos ser��n responsables de la construcci��n de una nueva mirada moderna mediatizada por los elementos t��cnicos. La experimentaci��n ��ptica, a trav��s de la fotograf��a, el cine, o el movimiento de la luz y su percepci��n, vinculada a nuevos modos de representaci��n y comunicaci��n, se convertir�� en elemento fundamental en la configuraci��n espacial. Este ��mbito de experimentaci��n se har�� patente en la Escuela de la Bauhaus, de la mano de Gropius, Schlemmer o Moholy Nagy entre otros; tanto en reflexiones te��ricas como en el desarrollo de proyectos expositivos, arquitect��nicos o teatrales, que evolucionar��n en base a la tecnolog��a y la modificaci��n de la relaci��n con el espectador. El espacio expositivo y el espacio esc��nico se tomar��n como oportunidad de investigaci��n espacial y de an��lisis de los modos de percepci��n, convirti��ndose en lugares de experimentaci��n b��sicos para el aprendizaje. El teatro se postula como punto de encuentro entre el arte y la t��cnica, cobrando especial importancia la intersecci��n con otras disciplinas en la definici��n espacial. Las m��ltiples innovaciones t��cnicas ligadas a los nuevos fundamentos teatrales en la modificaci��n de la relaci��n con la escena, que se producen a principios del siglo XX, tendr��n como consecuencia la transformaci��n del espacio en un espacio din��mico, tanto f��sica como perceptivamente, que dar�� lugar a nuevas concepciones espaciales, muchas de ellas ut��picas. La luz, la proyecci��n y la creaci��n de ilusi��n en base a est��mulos visuales y sonoros, aparecen como elementos proyectuales ef��meros e inmateriales, que tendr��n una gran incidencia en el espacio y su modo de ser experimentado. La implicaci��n de la tecnolog��a en el arte conllevar�� modificaciones en la visualizaci��n, as�� como en la configuraci��n espacial de los espacios destinados a esta. Destacaremos como propuesta el Teatro Total de Walter Gropius, en cuyo desarrollo se recogen de alg��n modo las experiencias espaciales y las investigaciones desarrolladas sobre la estructura formal de la percepci��n realizadas por Moholy Nagy, adem��s de los conceptos acerca del espacio esc��nico desarrollados en el taller de Teatro de la Bauhaus por Oskar Schlemmer. En el Teatro Total, Gropius incorporar�� su propia visi��n de cuestiones que pertenecen a la tradici��n de la arquitectura teatral y las innovaciones conceptuales que estaban teniendo lugar desde finales del s.XIX, tales como la participaci��n activa del p��blico o la superaci��n entre escena y auditorio, estableciendo en el proyecto una nueva relaci��n perceptual entre sala, espect��culo y espectador; aumentando la sensaci��n de inmersi��n, a trav��s del uso de la f��sica, la ��ptica, y la ac��stica, creando una energ��a conc��ntrica capaz de extenderse en todas direcciones. El Teatro Total ser�� uno de los primeros ejemplos en los que desde el punto de partida del proyecto, se conjuga la imagen como elemento comunicativo con la configuraci��n espacial. Las nuevas configuraciones esc��nicas tendr��n como premisa de desarrollo la capacidad de transformaci��n tanto perceptiva, como f��sica. En la segunda mitad del s.XX, la creaci��n de centros de investigaci��n como el CAVS (The Center for Advanced Visual Studies,1967), o el EAT (Experiments in Art and Technology, 1966), favorecer��n la colaboraci��n interdisciplinar entre arte y ciencia, implicando a empresas de car��cter tecnol��gico, como Siemens, HP, IBM o Philips, facilitando soporte t��cnico y econ��mico para el desarrollo de nuevos sistemas. Esta colaboraci��n interdisciplinar dar�� lugar a una serie de intervenciones espaciales que tendr��n su mayor visibilidad en algunas Exposiciones Universales. El resultado ser��, en la mayor��a de los casos, la creaci��n de espacios de car��cter inmersivo, donde se establecer�� una relaci��n simbi��tica entre espacio, imagen, sonido, y espectador. La colocaci��n del espectador en el centro de la escena y la disposici��n din��mica de imagen y sonido, crear��n una particular narrativa espacial no lineal, concebida para la experiencia. Desde las primeras proyecciones de cine a la pantalla m��ltiple de los Eames, las t��cnicas espaciales de difusi��n del sonido en Stockhausen, o los experimentos con el movimiento f��sico interactivo, la imagen, la luz en movimiento y el sonido, quedan inevitablemente convertidos en material arquitect��nico. ABSTRACT. Light technology development would lead to a social, cultural and economic transformation. Both spatial consideration of ���Modern Movement��� and Second World War effects on technology, would have a visible aftereffect on spatial configuration and on the symbiotic and mutual relationship between ideology & technology. Comprehension adjustment on the articulation of space together with technology development, would impact on how space is perceived and felt. Exhibition space and scenic space would turn into a laboratory where developing and making comprehensive all illusory potential of light, projection and image. These new parameters would modify and revitalize the architectonic space. as modifying and revitalizing parameters of architectonic space. Spatial experimentation would be preceded by conceptual creation and investigation on the sculptural field, where new mechanic media would be responsible for a fresh and modern look influenced by technical elements. Optical experimentation, through photography, cinema or light movement and its perception, would turn into essential components for spatial arrangement linked to new ways of performance and communication. This experimentation sphere would be clear at The Bauhaus School, by the hand of Gropius, Schlemmer or Moholy Nag among others; in theoretical, theatrical or architectural performance���s projects, that would evolve based on technology and also based on the transformation of the relationship with the observer. Exhibition and perfor-mance areas would be taken as opportunities of spatial investigation and for the analysis of the different ways of perception, thus becoming key places for learning. Theater is postulated as a meeting point between art and technique, taking on a new significance at its intersection with other disciplines working with spatial definition too. The multiple innovation techniques linked to the new foundations for the theater regarding stage relation, would have as a consequence the regeneration of the space. Space would turn dynamic, both physically and perceptibly, bringing innovative spatial conceptions, many of them unrealistic. Light, projection and illusory creation based on sound and visual stimulus would appear as intangible and momentary design components, which would have a great impact on the space and on the way it is experienced. Implication of technology in art would bring changes on the observer as well as on the spatial configuration of the art spaces2. It would stand out as a proposal Walter Groupis Total Theater, whose development would include somehow the spatial experiments and studies about formal structure of perception accomplished by Moholy Nagy besides the concepts regarding stage space enhanced at the Bauhaus Theater Studio by Oskar Schlemmer. Within Total Theater, Groupis would incorporate his own view about traditional theatric architecture and conceptual innovations that were taking place since the end of the nineteenth century, such as active audience participation or the diffusing limits between scene and audience, establishing a new perception relationship between auditorium, performance and audience, improving the feeling of immersion through the use of physics, optics and acoustics, creating a concentric energy capable of spreading in all directions. Total Theater would be one of the first example in which, from the beginning of the Project, image is combined as a communicating element with the spatial configuration. As a premise of development, new stage arrangement would have the capacity of transformation, both perceptive and physically. During the second half or the twentieth century, the creation of investigation centers such as CAVS (Center for Advanced Visual Studies, 1967) or EAT (Experiments in Art and Technology, 1966), would help to the interdisciplinary collaboration between art and science, involving technology companies like Siemens, HP, IBM or Philips, providing technical and economic support to the development of new systems. This interdisciplinary collaboration would give room to a series of spatial interventions which would have visibility in some Universal Exhibitions. The result would be, in most cases, the creation of immersive character spaces, where a symbiotic relationship would be stablished between space, image, sound and audience. The new location of the audience in the middle of the display, together with the dynamic arrangement of sound and image would create a particular, no lineal narrative conceived to be experienced. Since the first cinema projections, the multiple screen of Eames, the spatial techniques for sound dissemination at Stockhausen or the interactive physical movement experimentation, image, motion light and sound would turn inevitably into architectural material.

Phospholipase C ��4 is involved in modulating the visual response in���mice

Expression of G protein-regulated phospholipase C (PLC) ��4 in the retina, lateral geniculate nucleus, and superior colliculus implies that PLC ��4 may play a role in the mammalian visual process. A mouse line that lacks PLC ��4 was generated and the physiological significance of PLC ��4 in murine visual function was investigated. Behavioral tests using a shuttle box demonstrated that the mice lacking PLC ��4 were impaired in their visual processing abilities, whereas they showed no deficit in their auditory abilities. In addition, the PLC ��4-null mice showed 4-fold reduction in the maximal amplitude of the rod a- and b-wave components of their electroretinograms relative to their littermate controls. However, recording from single rod photoreceptors did not reveal any significant differences between the PLC ��4-null and wild-type littermates, nor were there any apparent differences in retinas examined with light microscopy. While the behavioral and electroretinographic results indicate that PLC ��4 plays a significant role in mammalian visual signal processing, isolated rod recording shows little or no apparent deficit, suggesting that the effect of PLC ��4 deficiency on the rod signaling pathway occurs at some stage after the initial phototransduction cascade and may require cell���cell interactions between rods and other retinal cells.

O design inclusivo e o portador de defici��ncia visual : a estimula����o sensorial na arquitectura atrav��s da terapia Snoezelen

Somos rodeados por arquitetura mas nem sempre a vivemos da melhor forma, nem sempre sabemos tirar o melhor partido do que nos rodeia e nem sempre o que nos rodeia �� o melhor para n��s nem o que nos faz mais felizes. Esta realidade �� ainda maior para indiv��duos portadores de defici��ncia. Nota-se, hoje em dia, uma crescente preocupa����o para que as casas, e n��o s�� os espa��os comerciais e p��blicos, sejam acess��veis a todas as pessoas. Pensando nisto, muitos profissionais da ��rea da Arquitectura, Engenharia e Design de Interiores, desenvolvem os seus projetos levando em conta o design universal ou inclusivo. Os princ��pios deste design n��o s��o exclusivos ��s pessoas portadoras de defici��ncia, a aplica����o dos mesmos pode garantir, por exemplo, que uma mesma pessoa resida na mesma casa dos 0 aos 80 anos. As necessidades mudam ao longo da nossa vida. Uma casa inclusiva �� por isso uma casa para toda a vida.

O design e a cultura visual urbana

O objetivo deste artigo �� apresentar uma reflex��o sobre a import��ncia do design enquanto transmissor da identidade cultural na cria����o de uma identidade local. Discutir a import��ncia da cultura material e imaterial como um fator diferencial na constru����o de uma identidade visual associada a um s��tio, uma vez que a diversidade cultural assume muitas formas atrav��s do tempo e do espa��o, A cultura enquanto transmissor de mensagens devem ser tomada e entendida como um elemento essencial na representa����o do s��tio. Qualquer cidade ou freguesia necessita de uma imagem que lhe proporcione visibilidade, n��o s�� a n��vel nacional como tamb��m internacional, j�� que muitas das nossas cidades vivem das capacidades produtivas relacionadas com o turismo, atividade econ��mica que �� necess��rio incrementar com factores de qualidade. Para construir uma identidade local �� necess��rio um levantamento do patrim��nio existente, das refer��ncias do pr��-existente, a sua rela����o com o tecido s��cio-urbano, de forma a consubstanciar uma identidade gr��fica representativa da localidade. PALAVRAS

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