Face verification using Gabor wavelets and AdaBoost

This paper presents a new face verification algorithm based on Gabor wavelets and AdaBoost. In the algorithm, faces are represented by Gabor wavelet features generated by Gabor wavelet transform. Gabor wavelets with 5 scales and 8 orientations are chosen to form a family of Gabor wavelets. By convolving face images with these 40 Gabor wavelets, the original images are transformed into magnitude response images of Gabor wavelet features. The AdaBoost algorithm selects a small set of significant features from the pool of the Gabor wavelet features. Each feature is the basis for a weak classifier which is trained with face images taken from the XM2VTS database. The feature with the lowest classification error is selected in each iteration of the AdaBoost operation. We also address issues regarding computational costs in feature selection with AdaBoost. A support vector machine (SVM) is trained with examples of 20 features, and the results have shown a low false positive rate and a low classification error rate in face verification.

Eyes, amygdala, and other models of face processing: Questions for the SIMS model

This commentary raises general questions about the parsimony and generalizability of the SIMS model, before interrogating the specific roles that the amygdala and eye contact play in it. Additionally, this situates the SIMS model alongside another model of facial expression processing, with a view to incorporating individual differences in emotion perception.

Weightless neural nets for face recognition: a comparison

This paper considers the application of weightless neural networks (WNNs) to the problem of face recognition and compares the results with those provided using a more complicated multiple neural network approach. WNNs have significant advantages over the more common forms of neural networks, in particular in term of speed of operation and learning. A major difficulty when applying neural networks to face recognition problems is the high degree of variability in expression, pose and facial details: the generalisation properties of a WNN can be crucial. In the light of this problem a software simulator of a WNN has been built and the results of some initial tests are presented and compared with other techniques

Comprendre l'opposition parlementaire: le Parlement de Paris face aux réformes de Silhouette (1759)

The aim of this article is to reconsider the fiscal interpretation of opposition parlementaire to government policy. First, it suggests that the meaning of the remonstrances is blurred by specific constraints which make it very difficult to interpret these texts. Second, it analyses a variety of documents relating to Silhouette’s fiscal projects (1759) and shows that the real objective of the Parlement of Paris, which was never mentioned in its remonstrances, was to finance the Seven Years’ War by issuing paper-money. This reading reveals the influence of the British model of State finance, especially on the critical issue of credit, on both ministers and magistrates. In spite of this common reference, the government and the Parlement of Paris diverged in their reading of the fiscal crisis, and the political culture of the monarchy prevented the formation of a workable consensus.

Ballet-performing normality in the face of crisis

This paper contextualises the framework and methodology for producing the video performance Ballet, by Szuper Gallery (Susanne Clausen & Pavlo Kerestey), which was initiated through an encounter with an archive of rural information and propaganda films from the Museum of English Rural Life [MERL] in Reading, UK. This project looked at ways of extrapolating filmed gestures from the MERL films to choreograph a large-scale performance film and to consider how this practice-led research could instigate a new way of engaging with and interpreting the MERL film collection. The resulting video was produced in 2009 and was first exhibited at MERL, where it became part of the archive. This was followed by a series of international screenings. I will set out the surrounding research in and around the archive propaganda films, focusing on the performances by rural extras (background actors) in these films, while looking at the way one could understand the relation between a future-past, or tradition and accident in these films (Massumi, 1993). I will pair this with a reflection on the cultural reading of the extras (Didi-Huberman, 2009) and the notion of social choreography (Hewitt, 2005) in this context. I will then lay out reflections on artistic methods for the final performance, a Crash Choreography, based on calculated, but spontaneous encounters.