A Video Quality Assessment Metric Based on Human Visual System

It is important for practical application to design an effective and efficient metric for video quality. The most reliable way is by subjective evaluation. Thus, to design an objective metric by simulating human visual system (HVS) is quite reasonable and available. In this paper, the video quality assessment metric based on visual perception is proposed. Three-dimensional wavelet is utilized to decompose video and then extract features to mimic the multichannel structure of HVS. Spatio-temporal contrast sensitivity function (S-T CSF) is employed to weight coefficient obtained by three-dimensional wavelet to simulate nonlinearity feature of the human eyes. Perceptual threshold is exploited to obtain visual sensitive coefficients after S-T CSF filtered. Visual sensitive coefficients are normalized representation and then visual sensitive errors are calculated between reference and distorted video. Finally, temporal perceptual mechanism is applied to count values of video quality for reducing computational cost. Experimental results prove the proposed method outperforms the most existing methods and is comparable to LHS and PVQM.

Biologically Inspired Features for Scene Classification in Video Surveillance

Inspired by human visual cognition mechanism, this paper first presents a scene classification method based on an improved standard model feature. Compared with state-of-the-art efforts in scene classification, the newly proposed method is more robust, more selective, and of lower complexity. These advantages are demonstrated by two sets of experiments on both our own database and standard public ones. Furthermore, occlusion and disorder problems in scene classification in video surveillance are also first studied in this paper.

Towards an Example-Based Image Compression Architecture for Video-Conferencing

This paper consists of two major parts. First, we present the outline of a simple approach to very-low bandwidth video-conferencing system relying on an example-based hierarchical image compression scheme. In particular, we discuss the use of example images as a model, the number of required examples, faces as a class of semi-rigid objects, a hierarchical model based on decomposition into different time-scales, and the decomposition of face images into patches of interest. In the second part, we present several algorithms for image processing and animation as well as experimental evaluations. Among the original contributions of this paper is an automatic algorithm for pose estimation and normalization. We also review and compare different algorithms for finding the nearest neighbors in a database for a new input as well as a generalized algorithm for blending patches of interest in order to synthesize new images. Finally, we outline the possible integration of several algorithms to illustrate a simple model-based video-conference system.

Monitoring Activities from Multiple Video Streams: Establishing a Common Coordinate Frame

Passive monitoring of large sites typically requires coordination between multiple cameras, which in turn requires methods for automatically relating events between distributed cameras. This paper tackles the problem of self-calibration of multiple cameras which are very far apart, using feature correspondences to determine the camera geometry. The key problem is finding such correspondences. Since the camera geometry and photometric characteristics vary considerably between images, one cannot use brightness and/or proximity constraints. Instead we apply planar geometric constraints to moving objects in the scene in order to align the scene"s ground plane across multiple views. We do not assume synchronized cameras, and we show that enforcing geometric constraints enables us to align the tracking data in time. Once we have recovered the homography which aligns the planar structure in the scene, we can compute from the homography matrix the 3D position of the plane and the relative camera positions. This in turn enables us to recover a homography matrix which maps the images to an overhead view. We demonstrate this technique in two settings: a controlled lab setting where we test the effects of errors in internal camera calibration, and an uncontrolled, outdoor setting in which the full procedure is applied to external camera calibration and ground plane recovery. In spite of noise in the internal camera parameters and image data, the system successfully recovers both planar structure and relative camera positions in both settings.

Learning object segmentation from video data

This memo describes the initial results of a project to create a self-supervised algorithm for learning object segmentation from video data. Developmental psychology and computational experience have demonstrated that the motion segmentation of objects is a simpler, more primitive process than the detection of object boundaries by static image cues. Therefore, motion information provides a plausible supervision signal for learning the static boundary detection task and for evaluating performance on a test set. A video camera and previously developed background subtraction algorithms can automatically produce a large database of motion-segmented images for minimal cost. The purpose of this work is to use the information in such a database to learn how to detect the object boundaries in novel images using static information, such as color, texture, and shape. This work was funded in part by the Office of Naval Research contract #N00014-00-1-0298, in part by the Singapore-MIT Alliance agreement of 11/6/98, and in part by a National Science Foundation Graduate Student Fellowship.

Designing Computer Games to Facilitate Learning

The aim of this thesis was to explore the design of interactive computer learning environments. The particular learning domain selected was Newtonian dynamics. Newtonian dynamics was chosen because it is an important area of physics with which many students have difficulty and because controlling Newtonian motion takes advantage of the computer's graphics and interactive capabilities. The learning environment involved games which simulated the motion of a spaceship on a display screen. The purpose of the games was to focus the students' attention on various aspects of the implications of Newton's laws.

Agency and animation: the performance of interactive game characters

As an animator and practice-based researcher with a background in games development, I am interested in technological change in the video game medium, with a focus on the tools and technologies that drive game character animation and interactive story. In particular, I am concerned with the issue of ‘user agency’, or the ability of the end user to affect story development—a key quality of the gaming experience and essential to the aesthetics of gaming, which is defined in large measure by its interactive elements. In this paper I consider the unique qualities of the video game1 as an artistic medium and the impact that these qualities have on the production of animated virtual character performances. I discuss the somewhat oppositional nature of animated character performances found in games from recent years, which range from inactive to active—in other words, low to high agency. Where procedural techniques (based on coded rules of movement) are used to model dynamic character performances, the user has the ability to interactively affect characters in real-time within the larger sphere of the game. This game play creates a high degree of user agency. However, it lacks the aesthetic nuances of the more crafted sections of games: the short cut-scenes, or narrative interludes where entire acted performances are mapped onto game characters (often via performance capture)2 and constructed into relatively cinematic representations. While visually spectacular, cut-scenes involve minimal interactivity, so user agency is low. Contemporary games typically float between these two distinct methods of animation, from a focus on user agency and dynamically responsive animation to a focus on animated character performance in sections where the user is a passive participant. We tend to think of the majority of action in games as taking place via playable figures: an avatar or central character that represents a player. However, there is another realm of characters that also partake in actions ranging from significant to incidental: non-playable characters, or NPCs, which populate action sequences where game play takes place as well as cut scenes that unfold without much or any interaction on the part of the player. NPCs are the equivalent to supporting roles, bit characters, or extras in the world of cinema. Minor NPCs may simply be background characters or enemies to defeat, but many NPCs are crucial to the overall game story. It is my argument that, thus far, no game has successfully utilized the full potential of these characters to contribute toward development of interactive, high performance action. In particular, a type of NPC that I have identified as ‘pivotal’3—those constituting the supporting cast of a video game—are essential to the telling of a game story, particularly in genres that focus on story and characters: adventure games, action games, and role-playing games. A game story can be defined as the entirety of the narrative, told through non-interactive cut-scenes as well a interactive sections of play, and development of more complex stories in games clearly impacts the animation of NPCs. I argue that NPCs in games must be capable of acting with emotion throughout a game—in the cutscenes, which are tightly controlled, but also in sections of game play, where player agency can potentially alter the story in real-time. When the animated performance of NPCs and user agency are not continuous throughout the game, the implication is that game stories may be primarily told through short movies within games, making it more difficult to define video games animation as a distinct artistic medium.

Sentencing War Crimes and Crimes against Humanity under the International Criminal Tribunal for the Former Yugoslavia

null RAE2008

Data Retention and the War against Terrorism : A considered and proportionate response?

'Data retention and the war against terrorism - a considered and proportionate response'. Journal of Information Law & Technology 2004 (3) RAE2008

'Cloak Without Dagger': How the Information Research Department Fought Britain's Cold War in the Middle East, 1948-1956

Vaughn, James, ''Cloak Without Dagger': How the Information Research Department Fought Britain's Cold War in the Middle East, 1948-1956', Cold War History (2004) 4(3) pp.56-84 RAE2008

France and the Problems of Security and Disarmament after the First World War

Jackson, Peter, 'France and the Problems of Security and Disarmament after the First World War', Journal of Strategic Studies (2006) 29(2) pp.247-280 Special Issue: Enforcing arms limits: Germany post 1919; Iraq post 1991 RAE2008

What we have discovered about the Cold War is what we already knew : Julius Mader and the Western secret services during the Cold War

Maddrell, John, 'What we have discovered about the Cold War is what we already knew: Julius Mader and Western Espionage during the Cold War', Cold War History (2005) 5(2) pp.235-258 RAE2008

Irrelevant or Indispensable? ESDP, the ?War on Terror' and the Fallout from Iraq

Shepherd, Alistair, 'Irrelevant or Indispensable? ESDP, the ?War on Terror' and the Fallout from Iraq', International Politics (2006) 43(1) pp.71-92 RAE2008