A Partition Metric for Clustering Features Analysis

A new distance function to compare arbitrary partitions is proposed. Clustering of image collections and image segmentation give objects to be matched. Offered metric intends for combination of visual features and metadata analysis to solve a semantic gap between low-level visual features and high-level human concept.

Digital Preservation and Web Access to the Konkoly Observatory Schmidt Telescope Plate Archive

ACM Computing Classification System (1998): J.2.

An Analysis of Colour Semantics in Art Images

This article presents the principal results of the Ph.D. thesis A Novel Method for Content-Based Image Retrieval in Art Image Collections Utilizing Colour Semantics by Krassimira Ivanova (Institute of Mathematics and Informatics, BAS), successfully defended at Hasselt Uni-versity in Belgium, Faculty of Science, on 15 November 2011.

[Phot. d'un avion ayant atterri sur le Mont-Blanc, envoi dédicacé au prince Roland Bonaparte, 3 juillet 1921, des collections de ce dernier]

Donateur : Bonaparte, Roland (1858-1924)

[Album de 18 phot. au magnésium, s.d. (1857 ?), intérieur de l'hôtel du prince R. Bonaparte (?), des collections de ce dernier]

Donateur : Bonaparte, Roland (1858-1924)

[Album français. Souvenir de l'Exposition 1900, 51 vues phot. en dépliant, des collections du prince R. Bonaparte]

Donateur : Bonaparte, Roland (1858-1924)

[Phot. de la colonne Vendôme à Paris après sa destruction en 1871, des collections du prince R. Bonaparte]

Donateur : Bonaparte, Roland (1858-1924)

[2 phot. du masque mortuaire du roi de Rome, des collections du prince R. Bonaparte]

Donateur : Bonaparte, Roland (1858-1924)

[Notice sur la chapelle commémorative de l'incendie du Bazar de la Charité, rue Jean Goujon, 1897 (4 p. avec 2 phot.), des collections du prince R. Bonaparte]

Donateur : Bonaparte, Roland (1858-1924)

[41 phot. de Tchouktches prises lors du voyage de la Vega en 1879, expédition de A.E. Nordenskild le long des côtes de la Sibérie, des collections du prince Roland Bonaparte]

Donateur : Bonaparte, Roland (1858-1924)

[4 phot. de monuments musulmans en France, 3 du cimetière musulman au Père-Lachaise à Paris, 1 d'une gravure représentant la mosquée Mahomet à Buzancy (Ardennes), le tout dû à la Photogravure parisienne de monuments historiques, 30, boulevard Saint-Germain. Des collections du prince R. Bonaparte]

Donateur : Bonaparte, Roland (1858-1924)

[Vases grecs de diverses collections] : [relevés d'objets et de décors] / [recueillis par Aubin-Louis Millin]

Collectionneur : Millin, Aubin-Louis (1759-1818)

A scalable re-ranking method for content-based image retrieval

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Semi-supervised learning for relevance feedback on image retrieval tasks

Relevance feedback approaches have been established as an important tool for interactive search, enabling users to express their needs. However, in view of the growth of multimedia collections available, the user efforts required by these methods tend to increase as well, demanding approaches for reducing the need of user interactions. In this context, this paper proposes a semi-supervised learning algorithm for relevance feedback to be used in image retrieval tasks. The proposed semi-supervised algorithm aims at using both supervised and unsupervised approaches simultaneously. While a supervised step is performed using the information collected from the user feedback, an unsupervised step exploits the intrinsic dataset structure, which is represented in terms of ranked lists of images. Several experiments were conducted for different image retrieval tasks involving shape, color, and texture descriptors and different datasets. The proposed approach was also evaluated on multimodal retrieval tasks, considering visual and textual descriptors. Experimental results demonstrate the effectiveness of the proposed approach.

Raw as Archival Still Image Format: A Consideration

Source materials like fine art, over-sized, fragile maps, and delicate artifacts have traditionally been digitally converted through the use of controlled lighting and high resolution scanners and camera backs. In addition the capture of items such as general and special collections bound monographs has recently grown both through consortial efforts like the Internet Archive's Open Content Alliance and locally at the individual institution level. These projects, in turn, have introduced increasingly higher resolution consumer-grade digital single lens reflex cameras or "DSLRs" as a significant part of the general cultural heritage digital conversion workflow. Central to the authors' discussion is the fact that both camera backs and DSLRs commonly share the ability to capture native raw file formats. Because these formats include such advantages as access to an image's raw mosaic sensor data within their architecture, many institutions choose raw for initial capture due to its high bit-level and unprocessed nature. However to date these same raw formats, so important to many at the point of capture, have yet to be considered "archival" within most published still imaging standards, if they are considered at all. Throughout many workflows raw files are deleted and thrown away after more traditionally "archival" uncompressed TIFF or JPEG 2000 files have been derived downstream from their raw source formats [1][2]. As a result, the authors examine the nature of raw anew and consider the basic questions, Should raw files be retained? What might their role be? Might they in fact form a new archival format space? Included in the discussion is a survey of assorted raw file types and their attributes. Also addressed are various sustainability issues as they pertain to archival formats with a special emphasis on both raw's positive and negative characteristics as they apply to archival practices. Current common archival workflows versus possible raw-based ones are investigated as well. These comparisons are noted in the context of each approach's differing levels of usable captured image data, various preservation virtues, and the divergent ideas of strictly fixed renditions versus the potential for improved renditions over time. Special attention is given to the DNG raw format through a detailed inspection of a number of its various structural components and the roles that they play in the format's latest specification. Finally an evaluation is drawn of both proprietary raw formats in general and DNG in particular as possible alternative archival formats for still imaging.