NeoGeoNative

NeoGeoNative is about my uneasy relationship with the appropriation of Indigenous motifs in contemporary fashion to which I am both attracted and repelled. Cheap 'triba' leggings that I have purchased from places like Sportsgirl, Glassons and the Preston Market have been edited into a kind of hypnotic/seductive kaleidoscope of colour and patterns - that reference the Melanesian, Polynesian and Native American designs that they appropriate - but at the same time are completely decontextualised, re-emerging as neon mandalas and other sacred geometry.

Dance interrogations

A performed conference presentation incorporating dance, video projection and spoken word.

Chime

A multi-disciplinary, site-specific performance which moved between several spaces in the Courthouse Arts building. The work combined improvised dance, choreographic practice, video projection and sound which utilized and computer-manipulated the Federation Handbells.

When i look outside the window my shoes creak

 A solo exhibition consisting of a video projection

Conversation

 'Conversation' was part of Melbourne Urban Screens Festival at Federation Square from 3 - 5 Oct. 2008 and Rotterdam International Film Festival (38th : 2009 : Rotterdam, The Netherlands) from 21 Jan. - 1 Feb. 2009. Both events curated by Mirjam Struppek

Frayed

A solo exhibition using large scale video projection and sound with accompanying catalogue 'Semblance at the Top' by Melissa Amore

Technology as collaborator in somatic photographic practice

This article will address several areas of research. Firstly it will propose that a dance experience can translate into another discipline such as visual art. In my visual art practice I combine both photography, which is traditionally seen as a still medium, and performance in order to create a new form of embodiment. By acknowledging the inter-relationship between the body and the camera my project seeks to challenge a perceived separation between the disciplines. Fly Rhythm, an exhibition of 13 photographs and one video projection was conceived through a performative somatic process. I have developed the term ‘somatic photography’ to articulate subjective experiences in the context of my process of imaging movement in stillness. My thinking has been informed by visual art practice exploring movement and meaning using video and an older history of performance as a dancer and choreographer. I am primarily interested in movement initiated by a bodily response to light through still rather than moving imagery although artists such as Maya Deren whose films explore themes of time and space have influenced me. In my practice the term ‘somatic photography’ helps articulate the act of taking photographs, which is how meaning is being created rather than purely in the finished art works. The term somatic photography puts emphasis on the action of taking the image. Through using a custom made camera I was able to negotiate time and space as a dancer and create a visual drawing that talked to both choreography and fine art practice. This article engages with the following ideas: somatic photography, photography as choreography, body memory, ageing body, technology as collaborator, gallery interface, screen interface and movement.

The telescopic eye: aqua optica

The Telescopic Eye: Aqua Optica was an installation work which explores concepts and philosophies related to instrumental, lens based observations of heavens as experienced when seeing through a telescope. In particular it considers how the eye of the observer and the lens of the telescope must act in unison to extend both the perception and conception of that which is remote and beyond direct naked eye sensing - an act of transcendence. A series of projected images (the video) of celestial objects are observed by the viewer through a large spherical aquatic lens which is mounted on a large wooden tripod. These images slowly dissolve and morph into each other. The sequence in which these images are presented is based on approximate chronological order in which these celestial objects were historically observed through the telescope – such as the local bodies of our the solar system starting with the Moon, Jupiter and Saturn (as first observed by Galileo in 1610) and eventually extending out to distant nebula, star clusters and galaxies. For the Transduction exhibition the Telescopic Eye: Aqua Optica was installed outside in a small quadrangle next to the Tech Bar and as the night drew darker it was able to also embody the lighting and other visual elements from the surrounding buildings and streets. The Aqua Optica system often encompasses such local lighting and images as a added layer to the video projection work. In this case (at night and outside at Federation Square) the extent of the layering was very successful and increased dramatically as the night became darker. This multi layering of images invokes (for the viewer) a connection between the immediate environment of the Federation square and cityscape with the vastly distant images of the cosmos. For me such a multilayered imaging represents how scientific instruments of observation can generate a complex and augmented visualisation of reality, one which has historically come to re-define our conception of the cosmos and our place in it both spatially and temporally.

Argonauta Video Database: Projection and Homography matrices. Projection Left Camera

Description of the Annotation files: Annotation files are supplied for each video, for benchmarking. Annotations correspond to ground truths of peoples' positions in the image plane, and also for their feet positions, when they were visible. Annotations were performed manually, with the aid of a code developed by (Silva et al., 2014; see the Thesis for details). Targets (people or feet) are marked at variable frame intervals and then linearly interpolated.

Argonauta Video Database: Projection and Homography matrices. Projection Right Camera

Description of the Annotation files: Annotation files are supplied for each video, for benchmarking. Annotations correspond to ground truths of peoples' positions in the image plane, and also for their feet positions, when they were visible. Annotations were performed manually, with the aid of a code developed by (Silva et al., 2014; see the Thesis for details). Targets (people or feet) are marked at variable frame intervals and then linearly interpolated.

Argonauta Video Database: Projection and Homography matrices. Homography Right Camera

Description of the Annotation files: Annotation files are supplied for each video, for benchmarking. Annotations correspond to ground truths of peoples' positions in the image plane, and also for their feet positions, when they were visible. Annotations were performed manually, with the aid of a code developed by (Silva et al., 2014; see the Thesis for details). Targets (people or feet) are marked at variable frame intervals and then linearly interpolated.

Argonauta Video Database: Projection and Homography matrices. Homography Left Camera

Description of the Annotation files: Annotation files are supplied for each video, for benchmarking. Annotations correspond to ground truths of peoples' positions in the image plane, and also for their feet positions, when they were visible. Annotations were performed manually, with the aid of a code developed by (Silva et al., 2014; see the Thesis for details). Targets (people or feet) are marked at variable frame intervals and then linearly interpolated.

Face recognition across pose on video using eigen light-fields

We propose an approach to employ eigen light-fields for face recognition across pose on video. Faces of a subject are collected from video frames and combined based on the pose to obtain a set of probe light-fields. These probe data are then projected to the principal subspace of the eigen light-fields within which the classification takes place. We modify the original light-field projection and found that it is more robust in the proposed system. Evaluation on VidTIMIT dataset has demonstrated that the eigen light-fields method is able to take advantage of multiple observations contained in the video.

Liquid crystal over silicon device characteristics for holographic projection of high-definition television images.

We discuss some fundamental characteristics of a phase-modulating device suitable to holographically project a monochrome video frame with 1280 x 720 resolution. The phase-modulating device is expected to be a liquid crystal over silicon chip with silicon area similar to that of commercial devices. Its basic characteristics, such as number of pixels, bits per pixel, and pixel dimensions, are optimized in terms of image quality and optical efficiency. Estimates of the image quality are made from the noise levels and contrast, while efficiency is calculated by considering the beam apodization, device dead space, diffraction losses, and the sinc envelope.

Robust visual tracking using structurally random projection and weighted least squares

Sparse representation based visual tracking approaches have attracted increasing interests in the community in recent years. The main idea is to linearly represent each target candidate using a set of target and trivial templates while imposing a sparsity constraint onto the representation coefficients. After we obtain the coefficients using L1-norm minimization methods, the candidate with the lowest error, when it is reconstructed using only the target templates and the associated coefficients, is considered as the tracking result. In spite of promising system performance widely reported, it is unclear if the performance of these trackers can be maximised. In addition, computational complexity caused by the dimensionality of the feature space limits these algorithms in real-time applications. In this paper, we propose a real-time visual tracking method based on structurally random projection and weighted least squares techniques. In particular, to enhance the discriminative capability of the tracker, we introduce background templates to the linear representation framework. To handle appearance variations over time, we relax the sparsity constraint using a weighed least squares (WLS) method to obtain the representation coefficients. To further reduce the computational complexity, structurally random projection is used to reduce the dimensionality of the feature space while preserving the pairwise distances between the data points in the feature space. Experimental results show that the proposed approach outperforms several state-of-the-art tracking methods.