Contribution To Signalling Of 3d Video Streams In Communication Systems Using The Session Initiation Protocol

Las tecnologías de vídeo en 3D han estado al alza en los últimos años, con abundantes avances en investigación unidos a una adopción generalizada por parte de la industria del cine, y una importancia creciente en la electrónica de consumo. Relacionado con esto, está el concepto de vídeo multivista, que abarca el vídeo 3D, y puede definirse como un flujo de vídeo compuesto de dos o más vistas. El vídeo multivista permite prestaciones avanzadas de vídeo, como el vídeo estereoscópico, el “free viewpoint video”, contacto visual mejorado mediante vistas virtuales, o entornos virtuales compartidos. El propósito de esta tesis es salvar un obstáculo considerable de cara al uso de vídeo multivista en sistemas de comunicación: la falta de soporte para esta tecnología por parte de los protocolos de señalización existentes, que hace imposible configurar una sesión con vídeo multivista mediante mecanismos estándar. Así pues, nuestro principal objetivo es la extensión del Protocolo de Inicio de Sesión (SIP) para soportar la negociación de sesiones multimedia con flujos de vídeo multivista. Nuestro trabajo se puede resumir en tres contribuciones principales. En primer lugar, hemos definido una extensión de señalización para configurar sesiones SIP con vídeo 3D. Esta extensión modifica el Protocolo de Descripción de Sesión (SDP) para introducir un nuevo atributo de nivel de medios, y un nuevo tipo de dependencia de descodificación, que contribuyen a describir los formatos de vídeo 3D que pueden emplearse en una sesión, así como la relación entre los flujos de vídeo que componen un flujo de vídeo 3D. La segunda contribución consiste en una extensión a SIP para manejar la señalización de videoconferencias con flujos de vídeo multivista. Se definen dos nuevos paquetes de eventos SIP para describir las capacidades y topología de los terminales de conferencia, por un lado, y la configuración espacial y mapeo de flujos de una conferencia, por el otro. También se describe un mecanismo para integrar el intercambio de esta información en el proceso de inicio de una conferencia SIP. Como tercera y última contribución, introducimos el concepto de espacio virtual de una conferencia, o un sistema de coordenadas que incluye todos los objetos relevantes de la conferencia (como dispositivos de captura, pantallas, y usuarios). Explicamos cómo el espacio virtual se relaciona con prestaciones de conferencia como el contacto visual, la escala de vídeo y la fidelidad espacial, y proporcionamos reglas para determinar las prestaciones de una conferencia a partir del análisis de su espacio virtual, y para generar espacios virtuales durante la configuración de conferencias.

Evaluating a Speech Communication System for deaf people

This paper describes the development of an Advanced Speech Communication System for Deaf People and its field evaluation in a real application domain: the renewal of Driver’s License. The system is composed of two modules. The first one is a Spanish into Spanish Sign Language (LSE: Lengua de Signos Española) translation module made up of a speech recognizer, a natural language translator (for converting a word sequence into a sequence of signs), and a 3D avatar animation module (for playing back the signs). The second module is a Spoken Spanish generator from sign-writing composed of a visual interface (for specifying a sequence of signs), a language translator (for generating the sequence of words in Spanish), and finally, a text to speech converter. For language translation, the system integrates three technologies: an example-based strategy, a rule-based translation method and a statistical translator. This paper also includes a detailed description of the evaluation carried out in the Local Traffic Office in the city of Toledo (Spain) involving real government employees and deaf people. This evaluation includes objective measurements from the system and subjective information from questionnaires. Finally, the paper reports an analysis of the main problems and a discussion about possible solutions.

Rapid prototyping framework for visual control of autonomous micro aerial vehicles

Rapid prototyping environments can speed up the research of visual control algorithms. We have designed and implemented a software framework for fast prototyping of visual control algorithms for Micro Aerial Vehicles (MAV). We have applied a combination of a proxy-based network communication architecture and a custom Application Programming Interface. This allows multiple experimental configurations, like drone swarms or distributed processing of a drone’s video stream. Currently, the framework supports a low-cost MAV: the Parrot AR.Drone. Real tests have been performed on this platform and the results show comparatively low figures of the extra communication delay introduced by the framework, while adding new functionalities and flexibility to the selected drone. This implementation is open-source and can be downloaded from www.vision4uav.com/?q=VC4MAV-FW

Types of metaphor in civil engineering communication

La metáfora y otros mecanismos imaginativos subyacentes al pensa- miento y lenguaje humanos pueden ser utilizados en el discurso diario y especializado (Lakoff y Johnson 1980; Lakoff y Nuñez 2000). Asimismo pueden aparecer en la comunicación no verbal (Forceville y Urios-Aparisi 2009; Littlemore et al. Este volumen).Partiendo de estudios cognitivos y de la teoría de integración conceptual (Fauconnier 1997; Fauconnier y Turner 2002), este artículo examina la presencia de la metáfora en la ingeniería. Primeramente, se analiza un corpus lingüístico procedente de artículos de investigación de ingeniería civil. Los datos revelan el uso de la metáfora antropomórfica, sobre todo en expresiones relativas a la salud, como “diagnóstico”, “auscultación” o “proceso de curación”. Se exploran además ejemplos de ingeniería cuya fuente son proyecciones conceptuales corporales. Finalmente, abordamos la función de la metáfora visual bajo la teoría de integración conceptual mediante representaciones de ingeniería que evocan la anatomía humana o animal. Metaphor and other imaginative mechanisms that underlie human thought and language such as metonymy are used in everyday and specialised discourse (Lakoff and Johnson 1980; Lakoff and Nuñez 2000) They can also be involved in non- verbal forms of communication (Forceville and Urios-Aparisi 2009; Littlemore et al. this volume). Drawing on metaphor cognitive studies and on conceptual integration theory (Fauconnier 1997; Fauconnier and Turner 2002) this paper examines the occurrence of metaphor in engineering. First, we analyse results from a linguistic corpus formed by research papers from civil engineering journals. These data reveal the use of anthropomorphic metaphor, especially related to health or medical mappings such as “diagnosing”, “auscultation” or “curing”. Then, we explore how engineering notions are instantiated by bodily conceptual mappings according to conceptual integration theory. Finally, the function of visual metaphor is examined with conceptual integration theory by using engineering images evoking parts of human or animal anatomy.

Online Learning-based Robust Visual Tracking for Autonomous Landing of Unmanned Aerial Vehicles

Autonomous landing is a challenging and important technology for both military and civilian applications of Unmanned Aerial Vehicles (UAVs). In this paper, we present a novel online adaptive visual tracking algorithm for UAVs to land on an arbitrary field (that can be used as the helipad) autonomously at real-time frame rates of more than twenty frames per second. The integration of low-dimensional subspace representation method, online incremental learning approach and hierarchical tracking strategy allows the autolanding task to overcome the problems generated by the challenging situations such as significant appearance change, variant surrounding illumination, partial helipad occlusion, rapid pose variation, onboard mechanical vibration (no video stabilization), low computational capacity and delayed information communication between UAV and Ground Control Station (GCS). The tracking performance of this presented algorithm is evaluated with aerial images from real autolanding flights using manually- labelled ground truth database. The evaluation results show that this new algorithm is highly robust to track the helipad and accurate enough for closing the vision-based control loop.

Online Learning-based Robust Visual Tracking for Autonomous Landing of Unmanned Aerial Vehicles

Autonomous landing is a challenging and important technology for both military and civilian applications of Unmanned Aerial Vehicles (UAVs). In this paper, we present a novel online adaptive visual tracking algorithm for UAVs to land on an arbitrary field (that can be used as the helipad) autonomously at real-time frame rates of more than twenty frames per second. The integration of low-dimensional subspace representation method, online incremental learning approach and hierarchical tracking strategy allows the autolanding task to overcome the problems generated by the challenging situations such as significant appearance change, variant surrounding illumination, partial helipad occlusion, rapid pose variation, onboard mechanical vibration (no video stabilization), low computational capacity and delayed information communication between UAV and Ground Control Station (GCS). The tracking performance of this presented algorithm is evaluated with aerial images from real autolanding flights using manually- labelled ground truth database. The evaluation results show that this new algorithm is highly robust to track the helipad and accurate enough for closing the vision-based control loop.

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

El desarrollo de la tecnología de la luz implicará la transformación de la vida social, cultural y económica. Tanto las consideraciones espaciales del Movimiento Moderno, como los efectos producidos por la segunda Guerra Mundial, tendrán efectos visibles en las nuevas configuraciones espaciales y en la relación simbiótica y recíproca que se dará entre ideología y tecnología. La transformación en la comprensión de la articulación espacial, asociada al desarrollo tecnológico, afectará al modo en que este espacio es experimentado y percibido. El espacio expositivo y el espacio escénico se convertirán en laboratorio práctico donde desarrollar y hacer comprensible todo el potencial ilusorio de la luz, la proyección y la imagen, como parámetros modificadores y dinamizadores del espacio arquitectónico. Esta experimentación espacial estará precedida por la investigación y creación conceptual en el mundo plástico, donde los nuevos medios mecánicos serán responsables de la construcción de una nueva mirada moderna mediatizada por los elementos técnicos. La experimentación óptica, a través de la fotografía, el cine, o el movimiento de la luz y su percepción, vinculada a nuevos modos de representación y comunicación, se convertirá en elemento fundamental en la configuración espacial. Este ámbito de experimentación se hará patente en la Escuela de la Bauhaus, de la mano de Gropius, Schlemmer o Moholy Nagy entre otros; tanto en reflexiones teóricas como en el desarrollo de proyectos expositivos, arquitectónicos o teatrales, que evolucionarán en base a la tecnología y la modificación de la relación con el espectador. El espacio expositivo y el espacio escénico se tomarán como oportunidad de investigación espacial y de análisis de los modos de percepción, convirtiéndose en lugares de experimentación básicos para el aprendizaje. El teatro se postula como punto de encuentro entre el arte y la técnica, cobrando especial importancia la intersección con otras disciplinas en la definición espacial. Las múltiples innovaciones técnicas ligadas a los nuevos fundamentos teatrales en la modificación de la relación con la escena, que se producen a principios del siglo XX, tendrán como consecuencia la transformación del espacio en un espacio dinámico, tanto física como perceptivamente, que dará lugar a nuevas concepciones espaciales, muchas de ellas utópicas. La luz, la proyección y la creación de ilusión en base a estímulos visuales y sonoros, aparecen como elementos proyectuales efímeros e inmateriales, que tendrán una gran incidencia en el espacio y su modo de ser experimentado. La implicación de la tecnología en el arte conllevará modificaciones en la visualización, así como en la configuración espacial de los espacios destinados a esta. Destacaremos como propuesta el Teatro Total de Walter Gropius, en cuyo desarrollo se recogen de algún modo las experiencias espaciales y las investigaciones desarrolladas sobre la estructura formal de la percepción realizadas por Moholy Nagy, además de los conceptos acerca del espacio escénico desarrollados en el taller de Teatro de la Bauhaus por Oskar Schlemmer. En el Teatro Total, Gropius incorporará su propia visión de cuestiones que pertenecen a la tradición de la arquitectura teatral y las innovaciones conceptuales que estaban teniendo lugar desde finales del s.XIX, tales como la participación activa del público o la superación entre escena y auditorio, estableciendo en el proyecto una nueva relación perceptual entre sala, espectáculo y espectador; aumentando la sensación de inmersión, a través del uso de la física, la óptica, y la acústica, creando una energía concéntrica capaz de extenderse en todas direcciones. El Teatro Total será uno de los primeros ejemplos en los que desde el punto de partida del proyecto, se conjuga la imagen como elemento comunicativo con la configuración espacial. Las nuevas configuraciones escénicas tendrán como premisa de desarrollo la capacidad de transformación tanto perceptiva, como física. En la segunda mitad del s.XX, la creación de centros de investigación como el CAVS (The Center for Advanced Visual Studies,1967), o el EAT (Experiments in Art and Technology, 1966), favorecerán la colaboración interdisciplinar entre arte y ciencia, implicando a empresas de carácter tecnológico, como Siemens, HP, IBM o Philips, facilitando soporte técnico y económico para el desarrollo de nuevos sistemas. Esta colaboración interdisciplinar dará lugar a una serie de intervenciones espaciales que tendrán su mayor visibilidad en algunas Exposiciones Universales. El resultado será, en la mayoría de los casos, la creación de espacios de carácter inmersivo, donde se establecerá una relación simbiótica entre espacio, imagen, sonido, y espectador. La colocación del espectador en el centro de la escena y la disposición dinámica de imagen y sonido, crearán una particular narrativa espacial no lineal, concebida para la experiencia. Desde las primeras proyecciones de cine a la pantalla múltiple de los Eames, las técnicas espaciales de difusión del sonido en Stockhausen, o los experimentos con el movimiento físico interactivo, la imagen, la luz en movimiento y el sonido, quedan inevitablemente convertidos en material arquitectónico. 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.

The Vernacular Discourse of the "Arab Spring:" An Analysis of the Visual, the Embodied, and the Textual Rhetorics of the Karama Revolution

The Vernacular Discourse of the "Arab Spring" is a project that bridges the divide between the East and the West by offering new readings to Arab subjectivities. Through an analysis of the "Arab Spring" through the lens of vernacular discourse, it challenges the Euro-Americo-centric legacies of Orientalism in Western academia and the new wave of extremism in the Arab world by offering alternative representations of Arab bodies and subjectivities. To offer this new reading of the "Arab Spring," it explores the foundations of critical rhetoric as a theory and a practice and argues for a turn towards a critical vernacular discourse. The turn towards critical vernacular discourse is important as it urges the analyses of different artifacts produced by marginalized groups in order to understand their perspectives that have largely been foreclosed in traditional cultural studies research. Building on embodied/performative critical rhetoric, the vernacular discourses of the Arab revolutionary body examines other forms of knowledge productions that are not merely textual; more specifically, through data gathered in the Lhbib Bourguiba, Tunisia. This analysis of the political revolutionary body unveils the complexity underlining the discussion around issues of identity, agency and representation in the Middle East and North Africa, and calls for a critical study towards these issues in the region beyond the binary approach that has been practiced and applied by academics and media analysts. Hence, by analyzing vernacular discourse, this research locates a method of examining and theorizing the dialectic between agency, citizenry, and subjectivity through the study of how power structure is recreated and challenged through the use of the vernacular in revolutionary movements, as well as how marginalized groups construct their own subjectivities through the use of vernacular discourse. Therefore, highlighting the political prominence of evaluating the Arab Spring as a vernacular discourse is important in creating new ways of understanding communication in postcolonial/neocolonial settings.

Event-based visual servoing

Traditional visual servoing systems have been widely studied in the last years. These systems control the position of the camera attached to the robot end-effector guiding it from any position to the desired one. These controllers can be improved by using the event-based control paradigm. The system proposed in this paper is based on the idea of activating the visual controller only when something significant has occurred in the system (e.g. when any visual feature can be loosen because it is going outside the frame). Different event triggers have been defined in the image space in order to activate or deactivate the visual controller. The tests implemented to validate the proposal have proved that this new scheme avoids visual features to go out of the image whereas the system complexity is reduced considerably. Events can be used in the future to change different parameters of the visual servoing systems.

The orchestration of modes and EFL audio-visual comprehension: A multimodal discourse analysis of vodcasts

This thesis explores the role of multimodality in language learners’ comprehension, and more specifically, the effects on students’ audio-visual comprehension when different orchestrations of modes appear in the visualization of vodcasts. Firstly, I describe the state of the art of its three main areas of concern, namely the evolution of meaning-making, Information and Communication Technology (ICT), and audio-visual comprehension. One of the most important contributions in the theoretical overview is the suggested integrative model of audio-visual comprehension, which attempts to explain how students process information received from different inputs. Secondly, I present a study based on the following research questions: ‘Which modes are orchestrated throughout the vodcasts?’, ‘Are there any multimodal ensembles that are more beneficial for students’ audio-visual comprehension?’, and ‘What are the students’ attitudes towards audio-visual (e.g., vodcasts) compared to traditional audio (e.g., audio tracks) comprehension activities?’. Along with these research questions, I have formulated two hypotheses: Audio-visual comprehension improves when there is a greater number of orchestrated modes, and students have a more positive attitude towards vodcasts than traditional audios when carrying out comprehension activities. The study includes a multimodal discourse analysis, audio-visual comprehension tests, and students’ questionnaires. The multimodal discourse analysis of two British Council’s language learning vodcasts, entitled English is GREAT and Camden Fashion, using ELAN as the multimodal annotation tool, shows that there are a variety of multimodal ensembles of two, three and four modes. The audio-visual comprehension tests were given to 40 Spanish students, learning English as a foreign language, after the visualization of vodcasts. These comprehension tests contain questions related to specific orchestrations of modes appearing in the vodcasts. The statistical analysis of the test results, using repeated-measures ANOVA, reveal that students obtain better audio-visual comprehension results when the multimodal ensembles are constituted by a greater number of orchestrated modes. Finally, the data compiled from the questionnaires, conclude that students have a more positive attitude towards vodcasts in comparison to traditional audio listenings. Results from the audio-visual comprehension tests and questionnaires prove the two hypotheses of this study.

Communication in coral reef fish: the role of ultraviolet colour patterns in damselfish territorial behaviour

Many coral reef fish possess ultraviolet (UV) colour patterns. The behavioural significance of these patterns is poorly understood and experiments on this issue have not been reported for free-living reef fish in their natural environment. The damselfish Pomacentrus amboinensis has UV facial patterns, and spectroradiometric ocular media measurements show that it has the potential for UV vision. To test the potential behavioural significance of the UV patterns, I studied the response of males, in natural territories on the reef and in aquaria, to two conspecific intruders, one presented in a UV-transmitting (UV+) container and the other in a UV-absorbing (UV-) one. Territory owners attacked intruders viewed through UV+ filters significantly more often and for longer than intruders viewed through the UV- filter. In general, the results of the field experiment confirmed those of the laboratory experiment. The results support the hypothesis that P. amboinensis males are sensitive to UV light and that reflectance patterns, which appear in high contrast only in UV, modulate the level of aggressive behaviour. A recent survey showed that many predatory fish may not have UV vision and the use of UV colours in select species of reef fish may therefore serve as a 'private communication channel'. (C) 2004 The Association for the Study of Animal Behaviour. Published by Elsevier Ltd. All rights reserved.

Seeing music performance: Visual influences on perception and experience

Drawing from ethnographic, empirical, and historical/cultural perspectives, we examine the extent to which visual aspects of music contribute to the communication that takes place between performers and their listeners. First, we introduce a framework for understanding how media and genres shape aural and visual experiences of music. Second, we present case studies of two performances, and describe the relation between visual and aural aspects of performance. Third, we report empirical evidence that visual aspects of performance reliably influence perceptions of musical structure (pitch related features) and affective interpretations of music. Finally, we trace new and old media trajectories of aural and visual dimensions of music, and highlight how our conceptions, perceptions and appreciation of music are intertwined with technological innovation and media deployment strategies.

Animal visual systems and the evolution of color patterns: Sensory processing illuminates signal evolution

Animal color pattern phenotypes evolve rapidly. What influences their evolution? Because color patterns are used in communication, selection for signal efficacy, relative to the intended receiver's visual system, may explain and predict the direction of evolution. We investigated this in bowerbirds, whose color patterns consist of plumage, bower structure, and ornaments and whose visual displays are presented under predictable visual conditions. We used data on avian vision, environmental conditions, color pattern properties, and an estimate of the bowerbird phylogeny to test hypotheses about evolutionary effects of visual processing. Different components of the color pattern evolve differently. Plumage sexual dimorphism increased and then decreased, while overall (plumage plus bower) visual contrast increased. The use of bowers allows relative crypsis of the bird but increased efficacy of the signal as a whole. Ornaments do not elaborate existing plumage features but instead are innovations (new color schemes) that increase signal efficacy. Isolation between species could be facilitated by plumage but not ornaments, because we observed character displacement only in plumage. Bowerbird color pattern evolution is at least partially predictable from the function of the visual system and from knowledge of different functions of different components of the color patterns. This provides clues to how more constrained visual signaling systems may evolve.

Usability of a mobile, group communication prototype while rendezvousing

Mobile phones are increasingly being used collaboratively by social networks of users in spite of the fact that they are primarily designed to support single users and one-to-one communication. It is not well understood how services such as group SMS, SMS-based discussion lists and mobile instant messaging (IM) will be used by mobile groups in natural settings. Studying specific instances of common styles of in situ, group interaction may provide a way to see behavior patterns and typical interaction problems. We conducted a study of a mobile, group communication probe used during a rendezvousing activity in an urban environment. Usability problems relating to group usage, phone interface design and context were identified. Several major issues included: multitasking during message composition and reading; speed of text entry; excessive demand on visual attention; and ambiguity of intended recipients. We suggest that existing mobile device designs are overly-focused on individual users to the detriment of usability for mobile groups of users. We provide recommendations for the design of future mobile, group interfaces, used in similar situations to those explored here